Skip to main content

Full text of "E-mu Vintage Keys Owner's Manual"

See other formats


l/intagzTieys 

64-~Voit£ Classic Hey hoard 



Operation Manual 

© 2002 E-MU Systems 
All Rights Reserved 



Fl 12597 Rev. A 



E-MU World Headquarters 
E-MU Systems 

1600 Green Hills Road 

Scotts Valley, CA USA 

95066 

Telephone: 831-438-1921 

Fax:831-438-8612 

Internet: www.emu.com 



Europe, Africa, Middle East 
E-MU Systems 

Suite 6, Adam Ferguson House 
Eskmills Industrial Park 
Musselburgh, East Lothian 
Scotland, EH21 7PQ 
Tel: +44(0) 131-653-6556 
Fax: +44(0) 131-665-0473 



Important Notice: 

In order to obtain warranty service on your Vintage Keys unit, the serial number 
sticker must be intact and you must have a sales receipt or other proof of 
purchase. If there is no serial number sticker on the Vintage Keys, please contact 
E-MU Systems at once. 

This product is covered under one or more of the following U.S. patents: 
4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 
5,1 1 1 ,727; 5,1 44,676; 5,1 70,367; 5,248,845; 5,303,309; 5,31 7,1 04; 
5,342,990; 5,430,244 and foreign patents and/or pending patents. All other 
trademarks belong to their respective companies. Specifications and features are 
subject to change without notice. 



Vintage Keys Operation Manual 



Table of Contents 



Introduction 1 

Product Description 1 

Important Safety Instructions 4 

Setup 13 

Unpacking 13 

Connection Instructions 14 

Basic Setup 14 

Performance Setup 15 

Studio Setup 16 

Instant Gratification 19 

Playing Demo Sequences 19 

Auditioning Presets 20 

Selecting and Quick Editing Presets 20 

Exploring Beats Mode 22 

Exploring the Master Arpeggiator 24 

Multi-Channel Arpeggiator 26 

Time to Save? 28 

Basic Operations 29 

Power Switch 29 

Volume Control 29 

Channel +/- Buttons 29 

Data Entry Control 29 

Cursor Buttons 30 

Pitch & Mod Wheels 30 

Edit Section 30 

Global Button 30 

Controllers Button 30 

Arp/Beats Button 31 

MIDI Button 31 



ii E-MU Systems 



MIDI Panic Button 31 

Audition Button 31 

Compare Button 31 

Save/Copy Button 31 

Preset Edit Button 32 

Home/Enter Button 32 

Real-time Controller Knobs 32 

Knob Functions 33 

Quick Edit mode 33 

Screen View Buttons 34 

Main 34 

Multi 34 

Mix Screen 34 

Demo Mode 35 

Command Functions 36 

Preset Selection 36 

Trigger Mode 36 

Preset Menu Jump Keys 36 

Main Screen 37 

MIDI Channel Selection 37 

Preset Selection 37 

Channel Volume 38 

Channel Pan 39 

Channel Arpeggiator 39 

Sound Navigator 40 

Preset Category 40 

Instrument Category 40 

Multisetups 41 

Restoring Multisetups 41 

Multisetup Name 42 

Saving Multisetups 42 

Arp/Beats Menu 43 

Beats 44 

Beats Mode 46 

Status 46 

Beats Channel 46 

Trigger Channel 46 

Beats Controllers 49 

Beat Velocity Group 1-4 49 

Beat Xpose Group 1-4 49 

Beat Busy 49 

Beat Variation 50 

Beat Variation 50 

Beats Keys Layout 51 

1-Bar Trigger Option 51 

Beats Keys Offset 52 

Beats Part Velocity 52 

Beats Part Transpose 53 



Vintage Keys Operation Manual 



Beats Part Group 54 

Master Riff 54 

Riff Tempo 55 

Riff Controllers 55 

MIDI Song Start 56 

Arp/Riff MIDI Out 56 

Arpeggiators 57 

Arp Controllers 58 

Arpeggiator Resolution 58 

Arpeggiator Extension 58 

Arpeggiator Velocity 58 

Arpeggiator Gate 58 

Arpeggiator Interval 58 

Master Arpeggiator Parameters 58 

Status 59 

Mode 59 

Note Value 60 

Arpeggiator Pattern Speed 60 

Pattern 60 

Velocity 61 

Gate Time 61 

Extension Count 62 

Extension Interval 62 

Sync 63 

Pre-Delay 63 

Duration 64 

Post-Delay 64 

Recycle 65 

Keyboard Thru 65 

Latch 65 

Send MIDI System Exclusive Data 66 

Editing a User Arpeggiator Pattern 67 

Pattern Step Number 67 

Key 67 

Key Offset 68 

Tie 68 

Rest 68 

Skip 68 

End 68 

Velocity 69 

Duration 69 

Repeat 69 

User Pattern Name 70 

Multichannel Arpeggiating 70 



iv E-MU Systems 



Controllers Menu 71 

Realtime Control Functions 72 

Keyboard Transpose 72 

Keyboard Channel 72 

Local Control On/Off 72 

Keyboard Velocity Curve 73 

Channel Aftertouch On/Off 74 

Footswitch Function 74 

Foot Pedal Function 75 

Trigger Buttons Function 75 

Trigger Buttons 76 

Trigger Button Select 76 

Latch on/off 76 

MIDI Key 76 

MIDI Channel 76 

Velocity 76 

Preset Select Buttons 77 

Trigger Button Select 77 

Preset Location 77 

Preset Number 77 

Preset Name 77 

Category 77 

Preset Select Send Buttons 78 

Trigger Button Select 78 

Bank MSB 78 

Program Change Number 78 

BankLSB 78 

Knob Preset Quick-Edit 79 

Real-time Controller Assignment 79 

MIDI Footswitch Assign 80 

Calibrate Controllers 80 

Tempo Controller 81 

Base Tempo 82 

Global Menu 83 

Denning Global Parameters 84 

Master Transpose/Tune 84 

Master Bend Range 84 

Master Velocity Curve 85 

Mix Output 86 

Master Effects 88 

Effects Mode 88 

Effects Multi Mode Control 88 

Master FXA Algorithm 89 

A Effect Types 89 

FXA Parameters: Decay/HF Damping FxB -> FxA 90 

FXA Send Amounts 90 

Master FXB Algorithm 90 

B Effect Types 91 



Vintage Keys Operation Manual v 



FXB Parameters: Feedback/LFO Rate Delay Time 91 

FXB Send Amounts 91 

Miscellaneous Parameters 92 

Edit All Layers Enable 92 

User Key Tuning 92 

Screen Viewing Angle 92 

MIDI Menu 93 

Keyboard Outputs MIDI 94 

Knobs Output MIDI 94 

Transmit MIDI Clock 94 

MIDI Enable 94 

Receive Program Change 95 

MIDI Program Change -> Preset 95 

MIDISysExID 96 

MIDI SysEx Packet Delay 97 

Send MIDI System Exclusive Data 97 

MIDI Mode 98 

Programming Basks 99 

Modulation 100 

Modulation Sources 101 

Random Sources 102 

Modulation Patchcords 102 

Envelope Generators 103 

Tempo-based Envelopes 104 

Envelope Repeat 104 

Low Frequency Oscillators (LFOs) 105 

Clock Modulation 106 

Modulation Destinations 108 

Modulation Processors 109 

Preset Modulation Processors Ill 

Using the Modulation Processors 113 

More Examples 115 

Dynamic Filters 117 

What is a Filter? 118 

Parametric Filters 121 

The Z-Plane Filter 122 

Signal Flow 123 

MIDI Channels & Real-time Controls 124 

Bank Select Commands 126 

Stereo Mix Outputs 127 



vi E-MU Systems 



Preset Edit Menu 129 

Preset Name 130 

Four Layer Architecture 130 

Selecting Layers 131 

Denning Layer Parameters 132 

Selecting an Instrument 132 

Sound Navigator 132 

Defining Key Range 133 

Defining the Velocity Crossfade Range 135 

Defining the Real-time Crossfade Range 137 

Transposing the Instrument 140 

Tuning 141 

Background: Transpose vs. Coarse Tuning 141 

Amplifier 141 

Volume Envelope 142 

Selecting the Mode 142 

Defining the Volume Envelope 143 

Chorusing the Layer 144 

Sound Start Offset and Delay 144 

Non-Transpose Mode 145 

Solo Mode 145 

Assign Group 146 

Glide 147 

Z-Plane Filters 148 

Vintage Keys Filter Types 148 

Filter Types 148 

Filter Parameters 150 

Filter Envelope 151 

Defining the Filter Envelope 152 

Auxiliary Envelope 152 

Low Frequency Oscillators (LFOs) 153 

Shape 153 

Sync 154 

Rate 154 

Delay 156 

Variation 156 

Patchcords 157 

Modulator Polarity 158 

Pitch Bend Range 160 

Mix Output 160 

Common Preset Parameters 161 

Preset Effects 161 

FXA Algorithm 163 

A Effect Types 163 

FXA Parameters 164 

FXA Send Amounts 164 

FXB Algorithm 164 

B Effect Types 164 

FXB Parameters 165 



Vintage Keys Operation Manual vii 



FXB Send Amounts 165 

Preset Patchcords 165 

Initial Controller Amount 167 

Keyboard Tuning 168 

Preset Links 170 

Preset Tempo Offset 171 

Audition Riff Selection 171 

Play Solo Layers 171 

Effects 173 

Effects Overview 173 

The Effects Sends 173 

Effect Types 175 

Effect Parameters 175 

Decay 176 

High Frequency Damping 176 

Feedback 176 

LFORate 176 

Delay 176 

Effects Programmed in the Preset 177 

Master Effects 178 

Effects Mode 180 

Flexible Effects Control 180 

Using the Effects Channel Settings in Multi Mode 182 

Effect B Into Effect A 182 

General Effect Descriptions 184 

Reverb 184 

Chorus 185 

Doubling 185 

Slapback 185 

Stereo Flanger 185 

Delay 186 

Stereo Delay 186 

Panning Delay 186 

Dual Tap 186 

Vibrato 186 

Distortion 186 

Save/Copy Menu 187 

Saving a Preset 187 

Copying Information 188 

Copy Preset 188 

Copy Layer 188 

Copy Patchcords 189 

Copy Preset Patchcords 190 

Copy Arpeggiator Settings 190 

Copy Arpeggiator Pattern 191 

Copy Preset Bank 191 



viii E-MU Systems 



Sound Authoring 192 

Rename Flash SIMM 193 

Duplicate Flash 194 

Create Random Preset 195 

Preset Programming 197 

Editing Presets 197 

Changing the Instrument 197 

Changing the Tuning of an Instrument 198 

Chorus 199 

Volume Envelope 199 

Working with Filters 202 

Adding the Filter Envelope 203 

Changing Filter Types 205 

Envelope Repeat 206 

Practice Modulating 206 

Troubleshooting 207 

Linking Presets 208 

Appendix 209 

Basic Preset Knob Functions 209 

Beat Preset Knob Function 210 

Arp Preset Knob Function 210 

Presets 210 

Preset Categories 210 

Preset Listing 211 

Instrument Listing 215 

Riff Listing 219 

Keyboard Velocity Curves 221 

Master Velocity Curves 224 

Patchcord Amount Chart 226 

E-MU Expansion Sound Sets 227 

Installing Sound SIMMs 229 

MIDI 231 

Received Channel Commands 238 

Technical Specifications 239 

Warranty 240 

Index 243 



Vintage Keys Operation Manual ix 



x E-MU Systems 



Introduction 



Congratulations on your purchase of the E-MU Vintage Keys. Vintage Keys 
offers you all of the legendary keyboard sounds of the '60's, 70's and '80's in 
a single rack space. From tonewheel organs and suitcase keyboards to 
analog and FM synthesizers, Vintage Keys gives you the most authentic and 
comprehensive collection of classic keyboard sounds ever assembled. 

Thanks for purchasing this E-MU product. We sincerely hope you enjoy 
rediscovering these instruments and making them a part of your music. 



Product 
Description 



Vintage Keys contains three additional, user-upgradable sound SIMM 
sockets, allowing you to mix and match sound sets according to your 
needs. New sounds can be added as easily as plugging in a new 16MB or 
32MB SIMM module and up to 128MB of sounds can be installed! Each 
sound set has been meticulously crafted to be the best of its kind. Samples 
are matched across the keyboard, perfectly looped, and rich in harmonic 
texture. 

Vintage Keys contains 512 user presets and can hold literally thousands of 
factory presets. (ROM presets are automatically added when sound SIMMs are 
installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.) 
Vintage Keys's Sound Navigator is a major improvement to the main screen 
that makes it easy to find the exact sound you want from the thousands 
available. It's powerful, yet simple to use. 

Velocity & Pressure Sensitive Keyboard 

The five-octave, velocity sensitive keyboard with aftertouch allows you to 
perform live or record via MIDI into an external computer/sequencer. The 
keyboard action is extremely responsive, capturing all the subtle nuances of 
your performance. 

Multi-Function Controllers 

Multi-function buttons allow you to trigger arpeggiators and notes inter- 
nally or on any of your other MIDI devices. They can act as preset select 
buttons or Beats Mute or MIDI Trigger buttons (latched or unlatched). 



Vintage Keys Operation Manual 1 



Introduction 
Product Description 



Four real-time controller knobs are also multi-function controls. These 
knobs make it a snap to edit and modify internal preset parameters. The 
controllers are fully programmable and can control internal preset or other 
MIDI equipment. They can also be programmed to adjust multiple internal 
parameters at once, allowing complex levels of control. For example, a 
single knob can simultaneously turn up filter cutoff, while detuning one 
sample, and adjusting the release time of the volume envelope. Virtually 
every synth parameter in the Vintage Keys is controllable using the real- 
time knobs or by any internal or external control source. 

Vintage Keys contains E-MU's exclusive SuperBEATS Mode — a whole new 
way to create dynamic, original music. With SuperBEATS, you trigger, latch 
and unlatch synced loops and grooves from your keyboard. Simply select a 
"bts:" preset and you're ready to groove! Then use Vintage Keys's perfor- 
mance controls to alter and mutate the rhythm or the sound itself. 

Then there's Vintage Keys's Rhythmic Pattern Generator/ Arpeggiator, 
which can play up to 16 synchronized arpeggiator patterns at once using a 
different sound for each! Patterns can be edited using pattern flow 
commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and 
repeat. You can program or download 100 user patterns in addition to the 
200 factory patterns. 

Of course the real power of Vintage Keys becomes apparent when you begin 
to synthesize your own sounds. The extremely flexible yet easy to use, 
4-layer synthesizer voices make it easy to build sounds of any kind. Layers 
can be switched or crossfaded using key position, velocity, real-time 
controllers or any modulation source. Vintage Keys also contains 50 
different types of 2nd to 6th order resonant & modeling niters which are 
used to shape and modify the raw waveforms. 

The 64 modulation sources include three multistage envelopes and two 
LFOs per layer, as well as full MIDI control over virtually every parameter. 
The digital patch bay, with 24 cords per layer, (and 12 more cords per 
preset) lets you connect modulation sources to 64 destinations in any 
imaginable way. The patch bay contains a set of arithmetic modifiers, 
letting you create complex synthesis models. 

Four front panel real-time controllers give you control over 12 user- 
selectable parameters. The real-time knobs can adjust multiple synthesizer 
functions at once, allowing complex levels of control. For example, one 
knob can simultaneously turn up filter cutoff, while detuning one sample, 
and adjusting the release time of the volume envelope. Virtually every 
synth parameter in the Vintage Keys is controllable using the real-time 
knobs or by any internal or external control source. 

Four analog outputs with integral effect sends let you process separate 
sounds externally. Returns allow the addition of external effects units 
without the need for a separate mixer. 

Once you have created your preset, you can add richness to your sound 
using Vintage Keys's 24-bit stereo effects. You can choose a different effects 



2 E-MU Systems 



Introduction 



setup for each preset from over 60 algorithms. The effects section is actually 
two separate effects processors with control over each wet/dry mix level. 
Effects Processor "A" contains primarily ambiance algorithms like reverb 
and delays, while effects processor "B" contains primarily spectral 
algorithms such as chorus, flange, phase, distortion, and delay. Effects can 
be linked to each preset or used globally to further enhance your sound. 

The S/PDIF digital stereo output lets you connect to other digital 
equipment, such as digital mixers or external effects devices, keeping your 
signal entirely in the digital domain. 

Other features include multiple solo, voice assignment and performance 
modes for expressive control, 12 user-definable alternate tunings, an 
extremely easy to use interface and, of course, an extensive MIDI imple- 
mentation. 



Vintage Keys Operation Manual 3 



Important Safety Instructions 
Grounding Instructions 



Grounding 
Instructions 



Danger! 



User 

Maintenance 

Instructions 



Important Safety Instructions 



Use in countries other than the U.S.A. may require the use of a different 
line cord or attachment plug, or both. Refer all servicing to qualified service 
personnel. There are no user serviceable parts or adjustments inside the 
unit. There are no user serviceable parts inside the power supply enclosure. 

WARNING: To reduce the risk of fire or electric shock, do not expose this 
product to rain or moisture. 



This product must be grounded. If it should malfunction or break down, 
grounding provides a path of least resistance for electric current, reducing 
the risk of electric shock. This product is equipped with a cord having an 
equipment-grounding conductor and a grounding plug. The plug must be 
plugged into an appropriate outlet properly installed and grounded in 
accordance with all local codes and ordinances. 



Improper connection of the equipment's grounding conductor can result in 
the risk of electric shock. Check with a qualified electrician or service 
personnel if you are in doubt as to whether the product is properly 
grounded. Do not modify the plug provided with this product. If it will not 
fit the outlet, have a proper outlet installed by a qualified technician. 



1. Vintage Keys should be kept clean and dust free. Periodically wipe the 
unit with a clean, dry, lint free cloth. Do not use solvents or cleaners. 

2. There are no user lubrication or adjustment requirements. 

Caution -Servicing instructions are for use by qualified personnel only. To reduce 
the risk of electric shock, do not perform any servicing other than that contained 
in these operating instructions unless you are qualified to do so. Refer all servicing 
to qualified service personnel. 

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, 
ELECTRIC SHOCK, OR INJURY TO PERSONS 



4 E-MU Systems 



Important Safety Instructions 
User Maintenance Instructions 




This symbol is intended to 

alert you to the presence of 

important operating and 

maintenance (servicing) 

instructions in the literature 

accompanying the unit. 




This symbol is intended to 
alert you to the presence of 

uninsulated dangerous 

voltage within the product's 

enclosure that may be of 

sufficient magnitude to 

constitute a risk of electric 

shock to persons. 




This symbol is intended to 
alert you to use caution when 

moving a cart/apparatus 
combination to avoid injury. 



READ THESE INSTRUCTIONS: When using electric products, basic precau- 
tions should always be adhered to, including the following: 



8. 



9. 



1. Read all instructions before using Vintage Keys. 

2. Keep these instructions. 

3. Heed all warnings. 

4. Follow these instructions. 

5. Do not use near water. 

6. Clean only with a dry cloth. 

7. Install in accordance with E-MU's instructions. Do not block any 
openings. This apparatus should be situated so that its location or 
position does not interfere with proper ventilation. The ventilation 
should not be impeded by covering the ventilation openings with items 
such as newspapers, tablecloths, curtains, etc. 

Do not install near any heat sources such as radiators, heat registers, 
stoves, or other apparatus (including amplifiers) which produce heat. 

Do not defeat the safety purpose of the polarized or grounding-type 
plug. A polarized plug has two blades with one wider than the other. A 
grounding-type plug has two blades and a third grounding prong. The 
wide blade or the grounding prong are provided for your safety. If the 
provided plug does not fit into your outlet, consult an electrician for 
replacement of the obsolete outlet. 

Protect the power cord from being walked on or pinched, particularly at 
plugs, convenience receptacles, and at the point where they exit from 
the apparatus. 

Use only attachments/accessories specified by E-MU Systems. 

Use only with the cart, stand, tripod, bracket, or table specified by 
E-MU or sold with the apparatus. When a cart is used, use caution when 
moving the cart/apparatus combination to avoid injury from tip-over. 

Unplug Vintage Keys from the power outlet during lightning storms or 
when left unused for a long period of time. 

Refer all servicing to qualified service personnel. Servicing is required 
when the apparatus has been damaged in any way, such as power 
supply cord or plug is damaged, liquid has been spilled or objects have 
fallen into the apparatus, the apparatus has been exposed to rain or 
moisture, the does not operate normally or has been dropped. 

15. No open flame sources, such as lit candles, should be placed on the 
apparatus. 

16. The apparatus is designed for use in moderate climates. 

17. The apparatus shall not be exposed to dripping or splashing. No objects 
filled with liquids, such as vases, shall be placed on the apparatus. 

18. To reduce the risk of injury, close supervision is necessary when using 
the apparatus near children. 

19. The apparatus should be connected only to a power supply of the type 
described in the operating instructions and marked on the product. 



10. 



11. 

12. 



13. 



14. 



Vintage Keys Operation Manual 5 



Important Safety Instructions 
Radio and Television Interference 



Radio and 

Television 

Interference 



Copyright 
Information 



20. This product, in combination with an amplifier and headphones and 
speakers, may be capable of producing sound levels that could cause 
permanent hearing loss. Do not operate for a long period of time at a 
high volume level or at a level that is uncomfortable. If you experience 
any hearing loss or ringing in the ears, consult an audiologist. 



The equipment described in this manual generates and uses radio- 
frequency energy. If it is not installed and used properly — that is, in strict 
accordance with our instructions — it may cause interference with radio 
and television reception. 

This equipment has been tested and complies with the limits for a Class B 
computing device in accordance with the specifications in Subpart J of Part 
15 of the FCC rules. These rules are designed to provide reasonable 
protection against such interference in a residential installation. However, 
there is no guarantee that the interference will not occur in a particular 
installation, especially if a "rabbit ear" TV antenna is used. 

If Vintage Keys does cause interference to radio or television reception, you 
can try to correct the interference by using one or more of the following 
measures: 

• Turn the television or radio antenna until the interference stops. 

• Move Vintage Keys to one side or the other of the television or radio. 

• Move Vintage Keys farther away from the television or radio. 

• Plug Vintage Keys into an outlet on a different circuit than the television 
or radio. 

• Consider installing a rooftop antenna with a coaxial lead-in between the 
antenna and television set. 



It is the policy of E-MU Systems to allow all users free, complete and 
unrestricted use to all of the presets, beats, riffs, patterns, and audition files 
contained in our products. However, we are unable to grant you a license to 
re-use, modify, create derivative works from, sell or redistribute the demon- 
stration files (demos). In most cases, these compositions are copyright 
protected by their respective authors and are licensed to E-MU Systems for 
product demonstration purposes only. Please contact E-MU Systems with 
additional questions. 



6 E-MU Systems 



Safety Instructions - German 
Wichtige Sicherheitsvorschriften 



Wichtige 
Sicherheits- 
vorschriften 



Erdungsin- 
struktionen 



Gefahr 



Unterhaltsin- 
struktionen 
fur anwender 



Vorsicht 



Safety Instructions - German 



In Landern ausserhalb den U.S.A. konnen andere Kabel oder Stecker 
notwendig werden. Zur Verminderung des Risikos von Feuer oder eines 
elektrischen Schlages ubergebe man den Service an qualifizierte Fachleute. 
Das Gerat niemals Regen oder Nasse aussetzen. 



Das Gerat muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung 
dem elektrischen Strom den Weg des geringsten Widerstandes und 
reduziert das Risiko eines Schlages. Dieses Gerat ist mit einem geerdeten 
Kabel und Stecker ausgeriistet. Der Stecker muss in eine passende, 
einwandfrei montierte und geerdete Steckdose in Ubereinstimmung mit 
den ortlichen Vorschriften eingefuhrt werden. 



Unvorschriftsgemasser Anschluss des Gerates kann zum Risiko eines 
elektrischen Schlages fuhren. Im Zweifelsfalle iiber die ordnungsgemasse 
Erdung soil ein qualifizierter Elektriker oder eine Serviecestelle beigezogen 
werden. Andern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die 
Steckdose passen, soil die einwandfreie Installation durch einen qualifi- 
zierten Techniker erfolgen. 



1. Vintage Keys soil sauber und staubfrei gehalten werden. Das Gerat mit 
einem sauberen und saurefreien Tuch periodisch abreiben. Keine 
Losungs- oder Reinigungsmittel anwenden. 

2. Schmieren und Justieren sind nicht notwendig. 

3. Bei weiteren Servicefragen wende man sich an eine qualifizierte Service- 
stelle. 



Diese Gebrauchsanweisungen sind nur fur qualifizierte Techniker 
beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden, 
sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen 
vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine 
qualifizierte Servicestelle. 



Vintage Keys Operation Manual 7 



Vorsicht 




Dieses Symbol weist den 

Anwender auf wichtige 

Gebrauchs- und Service- 

Vorschriften in den beilieg- 

enden Drucksachen. 




Dieses Symbol verweist auf 

nicht-isolierte Stromspan- 

nungen im Cerate-lnnern, 

welche zu einem elektrischen 

Schlag fuhren kbnnten. 



INSTRUKTIONEN BETR. FEUERRISIKO, 
ELEKTROSCHOCK ODER VERLETZUNG VON 
PERSONEN 

WARNUNG; Beim Einsatz elektrischer Gerate sollten 
folgende Vorsichtsmassregeln stets beachtet werden: 

1. Lesen Sie vor dem Einschalten des Vintage Keys alle Instruktionen. 

2. Zur Vermeidung von Verletzungsrisiken mtissen Kinder bei einge- 
schaltetem Vintage Keys sorgfaltig iiberwacht werden. 

3. Vintage Keys nicht in der Nahe von Wasser in Betrieb nehmen -- z.B. in 
der Nahe von Badewannen, Waschschiisseln, auf nassen Gestellen oder 
am Swimmingpool. 

4. Vintage Keys stets so aufstellen, dass seine Beliiftung nicht beein- 
trachtigt wird. 

5. Vintage Keys nicht in der Nahe von Hitze aufstellen, wie Heizkorper, 
offenem Feuer, Ofen oder von Backofen. 

6. Vintage Keys ausschliesslich mit einem Netzgerat gemass Bedienung- 
sanleitung und Geratemarkierung verwenden. 

7. Dieses Gerat kann bei Verwendung von Kopfhorern und Verstarkern 
hohe Lautpegel erzeugen, welche zu bleibenden Gehorschaden fuhren. 
Arbeiten Sie nicht wahrend langerer Zeit mit voller Lautstarke oder 
hohem Lautpegel. Stellen Sie Gehorverlust oder Ohrenlauten fest, 
wenden Sie sich an einen Ohrenartz. 

8. Vintage Keys kann mit einem polarisierten Kabelstecker (mit ungle- 
ichen Stiften) ausgeriistet sein. Das geschieht fiir Ihre Sicherheit. 
Konnen Sie den Stecker nicht in die Steckdose einfiihren, andern Sie 
nicht den Stecker ab, sondern wenden Sie sich an einen Elektriker. 

9. Das Netzkabel des Vintage Keys bei langerem Nichtgebrauch aus der 
Steckdose Ziehen. 

10. Vermeiden Sie sorgfaltig das Eindringen von Gegenstanden oder 
Fliissigkeiten durch die Gehauseoffnungen. 

11. Das Gerat soil durch qualinzierte Serviceleute gewartet werden, falls: 

A. das Netzkabel beschadigt wurde, oder 

B. Gegenstande oder Fliissigkeit in das Gerat gelangten, 

C. das Gerat Regen ausgesetzt war, oder 

D. das Gerat nicht normal oder einwandfrei arbeitet, oder 

E. das Gerat stiirzte oder sein Gehause beschadigt wurde. 

12. Servicearbeiten sollten nur qualinzierten Fachleuten anvertraut werden. 



8 E-MU Systems 



Safety Instructions - French 
Instructions de Securite Importantes 



Instructions 
de Securite 
Importantes 



Instructions 
de Mise a la 
Terre 



Danger 



Instructions 

de 

Maintenance 



Safety Instructions - French 



Une utilisation dans des pays autres que les U.S.A. peut necessiter l'usage 
d'un cordon d'alimentation different. Ann de reduire les risques d'incendie 
ou d'electrocution, referez-vous a un personnel de service qualifie, et 
n'exposez pas cet appareil a la pluie ou a l'humidite. 



Cet appareil doit etre relie a la terre. Dans le cas d'une malfonction 
eventuelle, la terre fournit un passage de moindre resistance pour le 
courant electrique, reduisant ainsi les risques d'electrocution. Le Vintage 
Keys est equipe d'un cordon muni d'un conducteur et d'une fiche devant 
etre branchee dans une prise appropriee et reliee a la terre en conformite 
avec les normes locales. 



Une connexion incorrecte peut resulter en des risques d'electrocution. 
Verifiez avec un technicien qualifie si vous avez des doutes quant a la 
connexion. Ne modifiez pas vous-meme le cordon d'alimentation livre avec 
cet appareil; s'il ne rentre pas dans la prise, faites-en installer un autre par 
un technicien qualifie. 



1. Le Vintage Keys doit etre maintenu propre et sans poussiere. Nettoyez- 
le periodiquement a l'aide d'un chiffon propre et non-pelucheux. 
N'utilisez pas de solvants, ou d'autres produits de nettoyage. 

2. Aucune lubrification et aucun reglage ne sont necessaires de votre part. 

3. Pour tout autre service, referez-vous a un personnel qualifie. 

Instructions Concernant les Risques d'incendie, 
d'Electrocution, ou de Blessures Corporelles. 

ATTENTION: Lorsque vous utilisez des appareils electriques, 
certaines precautions elementaires doivent tou jours etre prises, 
incluant les suivantes: 



Vintage Keys Operation Manual 9 



Safety Instructions - French 
Instructions de Maintenance 




Ce symbole vous alerte de la 

presence d'instructions 

importantes d'operation et 

de maintenance dans la 

notice accompagnant 

I'appareil. 




Ce symbole vous alerte de 

la presence d'un voltage 

non-isole dangereux a 

I'interieur de I'appareil, 

pouvant etre d'une 

magnitude suffisante pour 

constituer un risque 

d'electrocution. 



Ces instructions de depanage sont destinees uniquement aux personnes 
qualinees. Ann d'eviter les risques d'electrocution, n'effectuez que les opera- 
tions decrites dans ce manuel, a moins que vous ne soyez qualifie pour cela. 
Faites effectuer toute r'eparation par une personne qualifie. 

1. Lisez bien toutes les instructions avant d'utiliser le Vintage Keys. 

2. Ann de reduire les risques de blessures, une attention particuliere est 
necessaire en la presence d'enfants en bas age. 

3. N'utilisez pas le Vintage Keys dans ou pres d'endroits humides - par 
exemple pres d'une baignoire, d'un lavabo, dans les toilettes, dans une 
cave humide, sur un bar frequente, en presence d'un bull-dog en rut, ou 
dans une piscine pleine. Protegez cet appareil de tout liquide, 
eclaboussure ou fuite. 

Le Vintage Keys doit etre place de facon a ce que sa position n'interfere 
pas avec sa propre ventilation. 

Le Vintage Keys doit etre place loin de sources de chaleur telles que des 
radiateurs, cheminees, fours, ou groupies en chaleur. 

Le Vintage Keys doit uniquement etre connecte a une alimentation du 
type decrit dans les instructions d'operation et tel qu'indique sur 
I'appareil. 

Une attention particuliere doit etre observee quant aux objets pouvant 
tomber et aux liquides pouvant etre verses sur et a I'interieur de le 
Vintage Keys. 

Le Vintage Keys peut etre equipe d'une fiche secteur polarisee (avec une 
broche plus large que l'autre). C'est une mesure de securite. Si vous ne 
pouvez pas brancher cette fiche dans une prise, ne neutralisez pas cette 
securite. Contactez plutot un electricien pour remplacer la prise 
obsolete. 

Evitez de marcher sur le cordon d'alimentation ou de le coincer, 
particulierement pres des prises de courant, des boitiers 'electriques dt 
du point de sortie de I'appareil. 

Le cordon d'alimentation de le Vintage Keys doit etre debranche 
lorsque ce dernier n'est pas utilise pendant une longue periode. 

Cet appareil, combine avec un amplificateur, des haut-parleurs, et/ou 
un casque, est capable de generer des niveaux sonores pouvant 
occasionner une perte de l'ouie permanente. Ne travaillez pas trop 
longtemps a un volume trop eleve ou meme inconfortable. Si vous 
observez une perte de l'audition ou un bourdonnement dans les 
oreilles, consultez un O.R.L. 

12. N'utilisez que les accessoires sp'ecifi'es par E-MU Systems. 



4. 



5. 



6. 



7. 



8. 



9. 



10. 



11. 



10 E-MU Systems 



Declaration of Conformity 



Interferences 
Radio et 
Television 



13. Cet appareil doit etre examine par un personnel qualifie lorsque: 

A. Le cordon d'alimentation a ete endommage, ou 

B. Des objets sont tombes, ou du liquide a ete verse sur/a l'interieur 
de 1'appareii, ou 

C. Le Vintage Keys a ete expose a la pluie, ou 

D. Le Vintage Keys est tombe, ou 

E. Le Vintage Keys ne fonctionne pas normalement, ou amche un 
changement radical de performance. 

14. Tout service doit etre effectue par un personnel qualifie. 



SAUVEGARDEZ CES INSTRUCTIONS 



L' appareil decrit dans cette notice genere et utilise une energie de 
frequence-radio. S'il n'est pas installe et utilise correctement - c'est a dire en 
suivant strictement nos instructions - il peut occasionner des interferences 
avec la reception d'une radio ou d'une television. 

Cet appareil a ete teste et est conforme aux normes de Classe A en accord 
avec les specifications du paragraphe J de la section 15 des lois FCC. Ces lois 
sont designees pour fournir une protection raisonnable contre de telles 
interferences dans une installation residentielle. Toutefois, il n'est pas 
garanti qu'aucune interference n'apparaisse dans des installations 
particulieres, et plus specialement lorsqu'une antenne de television en 
«oreilles de lapin» est utilisee. 

Si le Vintage Keys occasionne des interferences , vous pouvez essayer de les 
corriger en utilisant une ou plusieurs des mesures suivantes: 

• Tournez l'antenne de la tele ou de la radio jusqu'a ce que les inter- 
ferences disparaissent. 

• Deplacez le Vintage Keys d'un cote ou de l'autre de la tele ou de la radio. 

• Eloignez le Vintage Keys de la tele ou de la radio. 

• Branchez le Vintage Keys sur une prise differente que la tele ou la radio. 

• Installez une antenne sur le toit munie d'une connexion coaxiale entre 
elle et le poste de television. 



Vintage Keys Operation Manual 1 1 



Declaration of Conformity 




Manufacturer: 

E-MU Systems 

1600 Green Hills Road 

Scotts Valley, CA 95067-0015 USA 

We hereby declare that the equipment listed herin conforms to the 
harmonized standards of the following European Commission Directives: 
89/336/EEC and 72/23/EEC. 



Trade Name: 

Model Number: 



Vintage Keys 
9728 



Under 89/336/EEC as amended by 92/3 l/EEC, and 93/68/EEC 

In accordance with EN 55103-1:1996, Emission Environments E4 

In accordance with EN 55103-2:1996, Immunity Environments E4 

Test information is contained in a report by Atlas Compliance and 
Engineering, Inc. 

Dated July 5, 2001 

Report No.: 0126EMUxl7_103 

Under 73/23/EEC as amended by 93/68/EEC 

In accordance with EN 60950 with amendments Al, A2, A3, A4, All 

This Declaration is made July 5, 200 1 



12 E-MU Systems 



Setup 



This section thoroughly describes how to set up your new Vintage Keys for 
use. Setup includes unpacking instructions, how to hook up the unit to 
your sound system and, most importantly, how to turn the thing on and 
off. 



Unpacking 



Carefully remove Vintage Keys from the packaging material. Take care to 
save the packing materials in case you need to transport the unit. Check to 
make sure all components are included and in good condition. If there are 
missing or damaged components, contact E-MU Systems immediately for 
replacement or repair. 

The Vintage Keys box should include the following components: 

• Vintage Keys unit 

• Power cable 

• This operation manual 



Vintage Keys Operation Manual 13 



Setup 
Basic Setup 



Connection 
Instructions 



Basic Setup 



^ 



The Right Main output 
jack carries a mono mix of the 
left and right channels when the 
Left Main plug is not plugged in. 

The Left Main output jack is a 
stereo jack carrying both 
channels when the right output 
jack is empty. 



MIDI Sound Module 



The Headphone Jack 

is located on the front panel 

below the Pitch and Mod. Wheels 



MIDI In 



Rear Panel 






•OO0 

IN OUT THRU . 



SWITCH PEDAL 



Main Outs 

to 
Mixer In 



! * 



Amp 



w v Mixer 


• jjjjjj; DE3 





Footswitch 




Foot Pedal 



© 



EH LHJ 

• — • 

xt: 



© 



Speakers 



O 



Power Switch & AC Receptacle 

The AC power switch is located on the rear panel. There is no 110/220 Volt 
power selector switch since Vintage Keys utilizes an auto-switching power 
supply which accepts from 100V-250V, 50-60Hz. 

MIDI Output 

Vintage Keys can control other MIDI instruments by connecting a MIDI 
cable between the MIDI out of Vintage Keys and the MIDI Input of the 
other instrument. 

Outputs 

In order to reproduce the wide dynamic range and frequency response, use 
a high quality amplification and speaker system and a stereo setup is highly 
desirable The headphone output is the same as the Main output signal. The 
headphone jack is located on the left side of the front panel. 

Footswitch & Footpedal 

Connect a momentary footswitch and a Control Pedal for additional 
control. Vintage Keys auto-senses either normally-open or normally-closed 
switches. See page 15 for foot pedal wiring information. 



14 E-MU Systems 



Setup 
Performance Setup 



Performance Setup 



FootPedal Wiring 




Ring 



• Ring 



Ground 




ii ii 



IN OUT THRU . 



SWITCH PEDAL 



II i 







Footswitch 



© 

'o 



Amp 



E3 EH 



XT 



Foot Pedal 



© 



MIDI In/MIDI Out 

Vintage Keys can be connected to a computer/sequencer via the MIDI In 
and MIDI Out ports. Vintage Keys to playback complex multitimbral 
sequences. 

Audio Outputs 

Two pairs of programmable stereo outputs (Main and Sub 1) are provided. 
The internal effects are available only on the Main outputs. Specific presets 
(or MIDI channels) can be routed to one of these stereo pairs in order to be 
processed further or mixed separately. 

Footswitch & Footpedal 

The footswitch input accepts either a normally-open or normally-closed 
momentary footswitch. The footpedal input can sense either 0-5 volts on 
the ring of a stereo jack or a pedal with the potentiometer wired as shown 
at left. The footswitch and Pedal inputs are programmable in the 
Controllers, Footswitch menu and the Preset Edit, Patchcord menu. 



Vintage Keys Operation Manual 15 



Setup 
Studio Setup 



Studio Setup 



MIDI Controller 

(MIDI Keyboard or Sequencer) 





PPI 






Computer 


^j^msssss^s 


^r 




-■~~w 



Additional 
MIDI 
Devices 



Rear Panel 





')• 



SWITCH PEDAL 



Effect Device 



« m 
Main Outs to Mixer In 

< — - 




ggsjgoggojnn 


llltlttltllltt 





^^ Retut 
(Toh 



Sub Output 

Return 

(To Main Output) 



Ring 



EH eh 



© 

'o 



XT 



© 



SEND/RETURN CABLE 

Signal i5 sent out on tip of plug and 
returned to main outputs via ring of plug. 



MIDI In 

In this setup, Vintage Keys is additionally controlled by another MIDI 
keyboard. 

MIDI Thru 

MIDI Thru transmits an exact copy of the messages received at the MIDI In 
jack. It does NOT send keyboard or controller information generated from 
Vintage Keys (Use the MIDI Out port to send Vintage Keys data to another 
instrument.) 

Audio Outputs 

The Sub 1 output jacks are stereo jacks. The tip of each jack (accessed when 
a standard phone plug is inserted) connects to the left or right output of 
that group. 



16 E-MU Systems 



Setup 
Studio Setup 



If you insert a stereo plug into one of the Sub Outputs, the ring of the plug 
serves as a signal Return which sums into the Main outputs. 

Therefore, the Sub 1 jacks can serve as effect sends and returns 
in order to further process selected instruments and then 
return them to the main mix. 

You can use the Sub 1 jacks as send/returns in order to further process 
selected Vintage Keys presets without using the effects bus on the mixing 
board. In a pinch, the effect returns can be used to sum additional instru- 
ments into the main outputs. It's like having an extra line mixer when you 
need more inputs! 



Output Section 




sub 1 



MAINS 



You can use the Sub 1 jacks as effect returns to the Main Outputs. 
Note that the Effects Processors are only routed to the Main Outputs. 



Vintage Keys Operation Manual 17 



Setup 



18 E-MU Systems 



Instant Gratification 



This section presents step-by-step instructions for the most fundamental 
operations to get you up and running as quickly as possible. 



Playing Demo 
Sequences 



Vintage Keys has several factory demonstration sequences that let you hear 
what this incredible machine can do. The actual number of demo 
sequences depends on which ROM sounds sets are installed. You can play 
these demo sequences by accessing the Demo Sequence page. 



DEMO SEQUENCES 
Mica's Dream 



VROM 



► To Play a Demo Sequence: 

1. Press and hold the Main and Mix buttons at the same time to enter the 
Demo Sequence page. The screen shown above appears. 

2. Select a sequence using the data entry control. The Enter LED will be 
flashing. 

3. Press the Enter button to begin playing the selected sequence. The 
following screen appears. 



PLRYING: Mica's Dream 
Press ENTER to stop 



Press the Enter button again to stop playing the sequence. 

When a demo sequence plays to the end, the next demo will automati- 
cally begin playing. The screen will display the new demo name. 

With the sequence stopped, press any other button to Exit demo 
sequence mode. 



Vintage Keys Operation Manual 19 



Instant Gratification 
Auditioning Presets 



Auditioning Presets 



^\ To audition presets with 
their programmed effects, switch 
to Omni or Poly mode (located 
in the MIDI menu). 



Selecting and Quick 
Editing Presets 



The front panel audition button allows you to hear any preset in Vintage 
Keys without even playing a note! When the Audition button is pressed, 
the button's LED will illuminate and a short "Riff" (programmed as part of 
the preset) will play The Riff is latched on and plays continuously until the 
button is pressed again. Presets can be changed while Audition is latched. 

The top line of the Preset View display changes to show the MIDI Bank 
Select controller values needed to select the preset being auditioned. This is 
an extremely handy feature when sequencing. 



Bank M5B:018 L5B:3 
059 2 vox: SnowBound 



VROM 



► To Audition a Preset: 

1 . Select a preset by turning the data entry control while the cursor is 
anywhere on the lower line of the main screen (shown below). 

2. Select a preset by turning the data entry control while the cursor is 
anywhere on the lower line. The preset number field (shown above) is 
the normal position of the cursor and pressing the Enter button will 
return the cursor to this position. 

3. Press the Audition button on the front panel. The Audition LED will 
illuminate and a short riff will play the selected preset. 

4. Continue to select and audition presets. 

5. Press the Audition button again to turn Audition mode off. The LED 
will extinguish. 

6. Play the keyboard. 

7. Be sure to check out the Pitch Wheel, controller knobs and Mod Wheel. 



The first thing you'll do with the Vintage Keys is select and play the factory 
provided presets. Vintage Keys comes standard with 8 banks containing 128 
presets each. See "Main Screen" on page 37. 





Initial 


Initial 






Channel 


Volume 


Pan 


Arpeggiator 


Preset 


Number 


Setting 


Setting 


Setting 


Location 



C01 V127 POIr R:off User 



023 2 * 



\ 



pad: Horizons 



\ 



■^r - 



-v- 



s 



Blinking 
Cursor 



Preset 
Number 



Bank 
Number 



Preset 
Category 



Preset 
Name 



20 E-MU Systems 



Instant Gratification 
Selecting and Quick Editing Presets 



\ 



You can select presets 
from the Preset Number, Bank 
Number, Preset Category or 
Preset Name fields. 



The first four banks are USER locations that can be overwritten and used to 
store your own presets. The presets that come stored in the USER presets are 
duplicated in banks 0-3 of the "Vintage Keys" ROM bank, so feel free to 
overwrite them with your own presets. You won't be losing anything. 

The ROM Card identifier is shown in the top right of the display. The preset 
is identified in the bottom line of the main screen (the screen that appears 
when you press the Mode/ View Preset button). 

Each bank of 128 presets is identified by a superscripted Bank Number to the 
right of the preset number. The bank numbers reset to at the start of each 
ROM card you have installed. So with the "VROM" ROM installed, the 
USER banks will go from 0-3, then start over from 0-3 for the Vintage Keys 
ROM banks. 



The User Banks 

are duplicated 

in the VKEYS 

ROM bank. 




Bank Organization 




USER 


BankO 


1 28 Presets 




USER 


Bank 1 


1 28 Presets 




USER 


Bank 2 


1 28 Presets 




USER 


Bank 3 


1 28 Presets 


VROM 


BankO 


1 28 Presets 


VROM 


Bank 1 


1 28 Presets 


VROM 


Bank 2 


1 28 Presets 


VROM 


Bank 3 


1 28 Presets 



The four User Banks can hold 51 2 custom presets. Feel free to overwrite these since the 
factory user presets are duplicated in nonvolatile ROM. 

To the right of the preset number and bank is the preset Category name 
followed by the Preset Name. 



► To Change the Preset: 

1 . Select the main Preset Selection screen by turning off all the menu 
buttons below the LCD. 

2. The cursor will be located under the first character in the Preset Number 
field. This is the "Home" position which is selected instantly when you 
press the Home/Enter button. Pressing either of the two cursor buttons 
repeatedly also gets you there. 

3. Turn the data entry control knob on the front panel to select a new 
preset number. If you turn the knob slowly, the presets advance one 
number for each "click" of the knob. If you spin the knob quickly, the 
numbers advance much faster (more than one number per click). 



Vintage Keys Operation Manual 21 



Instant Gratification 
Exploring Beats Mode 



Exploring Beats 
Mode 



% 



If you don't select a 
"bts:" preset, only the first 
trigger key will work. 

Riffs marked "bts:" have 16 
parts. Riffs without "bts:" have 
only 1 part. 



4. Play the keyboard (or press the Audition button) and listen to the 
sounds made by your Vintage Keys! 

5. TRY OUT ANY OF THE CONTROLLER KNOBS on the front panel and 
note how they change the sound of each preset! Don't worry about 
ruining the sound, the values are automatically reset as soon as you 
select a new preset. The three buttons labeled A-D, E-H, I-L allow the 
four controller knobs to control twelve functions. 



Vintage Keys contains a 16-track play-only sequencer that is optimized for 
live performance and groove creation. Vintage Keys contains dozens of 
special 16-part Beats Riffs. Beats Riffs are normally used in conjunction with 
a "bts:" preset containing the appropriate percussion mapping. Before you 
start exploring beats, make sure the Vintage Keys is properly set up. 



► Beats Setup: 

Set the Trigger Buttons to Beats Mode 

1 . Press the Controllers button on the front panel. 

2. Turn the data entry control clockwise until you fin the "TRIGGER 
BUTTONS FUNCTION" screen. 

3. Set the lower line of the display to read, "Play Beats Parts". 

4. Press the Controllers button on the front panel again to exit the menu. 

Set the Trigger Buttons to be Triggers 

5. Press the Triggers button in the Command Functions section of the 
front panel. OK, now you're ready to start playing Beats. 

► Playing Beats: 

Selecting Beats Presets 

1 . Press the right cursor button twice so that the cursor is located 
beneath the Category field. 

2. Turn the data entry control until bts: is shown in the Category field. 

3. Press the right cursor button so that the cursor is underneath the 
Preset Name field. 

4. Now turning the data entry control selects ONLY bts: presets! 

Play Beats 

5. Press any of the sixteen front panel Trigger Buttons. Notice that each 
button brings in a specific part. The chart below shows which buttons 
control which part in bts: presets. 



22 E-MU Systems 



Instant Gratification 
Exploring Beats Mode 



X) The Arp/Beats LED 
flashes in time with the Base 
Tempo. 

• Change the Base Tempo from 
the last screen in the Controllers 
menu. 



\ 



Wrong FX? In Omni 
mode, the FX assigned to 
channel 2 will be used. In Multi 
mode, the Master FX settings 
will be used. See pages 88 & 98. 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


1. Kickl 


5. Kick2 


9. Perc3/Fill1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/Fill2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Percl 


8. Perc2 


12. Perc6/lnst. 


16. Bass 



6. Also notice that the Audition LED conies on when Beats begin playing. 
Beats are simply multitrack Audition Riffs. Use the Audition button to 
turn Beats on and off. 

7. Try out a few different bts: presets. 

Get Busy! 

Two of the Controller knobs are programmed to control Beats. Check it out! 

8. Press the E-H button in the Controllers section. Its LED will light. 

9. Now turn the Movement knob with a Beats Riff playing. Movement 
controls the Beats Busy parameter which adds or subtracts parts from 
the Beat. 

10. Turn the Rate knob with a Beats Riff playing. Rate controls the Beats 
Variation parameter. Beats Variation changes which parts are playing 
without changing the number of parts. This makes it easy to try out 
different combinations of Beat Parts. 



► To Play Beats on a different MIDI channel: 

Beats can be assigned to a certain MIDI channel while you play the 
keyboard on another channel. (Make sure you have Beats mode set up correctly 
as described in "Beats Setup" on page 22.) 

1. Press the Arp/Beats button. The screen shown below appears. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



2. Set the Beats Channel (BtsCh) to 01. 

3. Select any bts: preset on channel 1 (main screen). 

4. Press any of the sixteen Beats buttons to start your Beat playing. (Do 
NOT start Beats by pressing the Audition button.) 

5. Press the + Channel button to the left of the LCD to select channel 2. 

6. Select a preset to jam along with the Beat. 

7. The Trigger Keys now play Beats and the other keys play the preset on 
channel 2. 

8. The Audition button can be used to turn the Beat off. (If you try to use it 
to turn Beats on while on channel 2, the Riff on channel 2 will play.) 



Vintage Keys Operation Manual 23 



Instant Gratification 
Exploring the Master Arpeggiator 



Exploring the Master 
Arpeggiator 



Vintage Keys' multi-channel Pattern Generator/ Arpeggiator is one of the 
greatest features ever put in a synth. Let's explore the Master Arpeggiator. 

► To Arpeggiate a Single Preset: 



1. 



2. 



Select a preset. Note that the factory presets all have prefixes which 
describe the type of sound. For this investigation it might be best to 
choose a preset with the prefix "arp," for arpeggiator. These presets are 
optimized for use with the arpeggiator. 

Set the Arp parameter in the main preset selection screen to "M" for 
Master Arpeggiator. 



7. 



8. 



C01 
050 3 



V127 POIr R:M 
arp: Loopy Gruv 



VROM 



3. Press the Arp/Beats button in the Edit section of the front panel to 
access the master Arpeggiator menu, then use the data entry control to 
scroll to the screen shown below. 




4. Make sure the arpeggiator Status is "on." Play the keyboard to start 
arpeggiating. 

5. Press either cursor key repeatedly to move the cursor below the Status 
field. 

6. Turn the data entry control clockwise one click. The Mode screen 
appears. 




Use the cursor keys to move the cursor to the Mode field (up, down, up/ 
down, forw asgn, backw asgn, forw/backw, random, pattern). Try out 
the different modes as you play the keyboard. 

Move the cursor back to the lower left position and explore the other 
parameters. The Note Value parameter changes the rate of the arpeggios. 
By the way, note value is a divisor based on the Master Tempo. Try 
changing the tempo, but come right back. 



24 E-MU Systems 



Instant Gratification 
Exploring the Master Arpeggiator 



X 



See the Arpeggiator 
Chapter for detailed information 
on creating Patterns. 



9. Let's check out the pattern generator. Go back to the Mode screen and 
set the mode to "Pattern". 

10. Now advance to the Pattern screen (shown below) and move the cursor 
to the Pattern Number field (the second field from the left). 



MRSTER RRPEGGIRTOR 
Pattern 38° Inversions 



11. Try the various patterns. There are 200 permanent factory patterns and 
100 user locations to store the patterns you create. Each pattern can 
have up to 32 notes. 



Vintage Keys Operation Manual 25 



Instant Gratification 
Multi-Channel Arpeggiator 



Multi-Channel 
Arpeggiator 



Vintage Keys is totally amazing in its ability to run up to 16 arpeggiators at 
once! Even two or three patterns at once can create very complex sequences 
and dynamic landscapes of sound. 

Here's one way to access this ultra-powerful feature. There is one arpeg- 
giator for each MIDI channel. First you'll assign three of the Trigger Keys to 
MIDI channels 01-03. Next, you'll assign arpeggiator presets to these 
channels. Then you'll become addicted to this new way of making music. 

Program the Trigger Keys 

1. Press the Controllers button, then turn the data entry control until the 
screen shown below appears. 



TRIGGER BUTTONS FUNCTION 
Play Beats Parts 



3. 



Move the cursor to the lower line and turn the data entry control to 
select "Play Note Events". This sets the Trigger Buttons to play note 
events instead of selecting Beats parts. 

Move the cursor back to the top line and scroll to the screen shown 
below. 



T1 TRIGGERS Latch: on 
Key:C3 Ch: Basic Vel: 064 



Move the cursor until it is underneath the Latch field and turn Latch 
mode On. 

Move the cursor until it is underneath the Channel field (Ch) and set 
the Channel to 01. 

Move the cursor until it is underneath the Trigger field (Tl) and 
change the Trigger to T2 (trigger button 2). 

Turn Latch On for trigger button 2 and set the channel to 02. 

Change the Trigger to T3 (trigger button 3). 



9. Turn Latch On for trigger button 3 and set the channel to 03. 

Set up the Presets 

10. Press the Main button (located beneath the Data Entry Control). The 
preset select screen appears. 



26 E-MU Systems 



Instant Gratification 
Multi-Channel Arpeggiator 



X 



Sometimes a simple 
volume change will bring out 
hidden voices and patterns. 



C01 V127 POO 
051 3 arp: Drifter 



R:P VROM 



1 1 . Move the cursor underneath the Category field (as shown above) and 
select the "arp" category. 

12. Move the cursor underneath the preset name and select any "arp" 
preset for channel 1. 

13. Press the "+" Channel select button (located to the left of the LCD), so 
that C02 is displayed. 

14. Select any other "arp" preset for channel 2. 

15. Select channel 03 and choose another arp preset. 

Select Trigger Mode 

16. Press the Selector Button in the upper left corner of the Command 
Functions section. Pressing this button will switch between Track 
Enable/Mute and Triggers mode. Select Triggers mode. 

Play it! 

17. Now press Trigger Buttons 1, 2 and 3. You should be hearing three 
arpeggiators playing at once. 

18. Change the arp preset on the current MIDI channel. Since the cursor is 
located on the preset name, all your selections will be in the arp 
category. 

19. Press the Channel button and change the arp presets for channels 1, 2 
& 3. Since each factory preset has differently programmed arpeggiator 
settings, changing the preset not only changes the sound, but the 
arpeggiator as well. 

20. You can also play the keyboard. You'll be playing the preset currently 
showing in the display. 

21. Adjusting the front panel Controller Knobs modifies the preset 
showing in the LCD. 

22. Press the M-P button in the Controllers section to select the Arp control 
functions. Adjust the Arp Velocity and Arp Gate Time. Then change 
the MIDI channel and do it for another arp pattern. 

23. Press the Mix button so that "VOLUMES" is selected. This screen lets 
you blend the volume of every arpeggiator preset. 

There's lots more to the arpeggiators. To find out more, refer to the 
arpeggiator chapter beginning on page 43. 



Vintage Keys Operation Manual 27 



Instant Gratification 
Multi-Channel Arpeggiator 



S*> 



Multisetups save your 
entire Vintage Keys setup. Find 
out more on page 84. 



Time to Save? 

If you want to SAVE everything exactly as it is, continue on. 

1. Press the Multi button (located directly under the Data Entry Control). 

2. Rotate the data entry control until you get to the menu shown below. 



MULTISETUP NRME 
User Setup 



3. Press the right cursor button to move to the lower line. 

4. Name your Multisetup so you can find it later, then press Enter. 

5. Scroll to the next screen using the data entry control. 



5RVE SETUP TO 
002 User Setup 



6. Move the cursor to the lower line, select a location and press Enter. 



28 E-MU Systems 



Basic Operations 



Basic Operations 




Power Switch 



Volume Control 



Channel +/- Buttons 



Data Entry Control 



The Vintage Keys front panel contains an LCD screen, 38 buttons, and 4 
real-time controller knobs. Functions are grouped logically and the controls 
are arranged for ease of use. 



The power switch is located on the rear panel next to the AC power 
receptacle. 



This control is the master volume control for all audio outputs. The Volume 
Control does not affect any editing or user interface operations. 

The front panel volume control is a digital attenuator. For maximum 
dynamic range, turn this knob all the way up and control the volume from 
your mixer or amplifier. 



These very handy buttons, located to the left of the LCD, serve as a shortcut 
to increment or decrement the MIDI Channel (in Preset mode), Layer (in 
Preset Edit mode) or Step Numbers (in Arpeggiator Edit mode). 



The data entry control is a stepped, variable control switch used to change 
parameter values. The wheel increments or decrements the current value 
one unit with each click. This control incorporates acceleration, which 
advances the value faster if the data entry control is turned quickly. 



Vintage Keys Operation Manual 29 



Basic Operations 
Edit Section 



Cursor Buttons 



Pitch & Mod Wheels 



Edit Section 



Clobal Button 



Controllers Button 



These buttons, located just above the Data Entry Control, move the cursor 
to the next parameter on the display. (The cursor is a little flashing line 
underneath one of the parameters in the display) Press either cursor button 
until the cursor is underneath the desired parameter. The cursor buttons 
have an auto-repeat feature which advances the cursor when the button is 
held continuously. 

The cursor can be moved bidirectionally using the data entry control while 
either cursor select button is held down (for example, press and hold the 
right cursor button and turn the data entry control). 



These two controls, located to the right of the keyboard, are performance 
expression controls. The left "Pitch Wheel", is spring-loaded and is 
normally used to bend the pitch up and down while playing. The center 
position is off. The pitch bend range is set using the "Pitch Bend Range" 
parameter in the Global menu (page 84). 

The right "Mod Wheel" is programmed to add vibrato in most of the 
factory presets. Like all the controllers in Vintage Keys, the Mod Wheel can 
be programmed to control any synthesizer parameter. See Patchcords on 
page 102 and page 157 for more information. 



GLOBAL CONTROLLERS ARP/BEATS MIDI 



^ ^^ ^ r^ 



HOME/ENTER 



AUDITION COMPARE SAVE/COPY PRESET EDIT 



The Global menu contains parameters that affect the entire machine. An 
illuminated LED in the button indicates that you are in the Global menu. 
For more information about the Global menu, see page 83 



The Controllers menu contains parameters that are related to the front 
panel controller knob and button triggers. An illuminated LED in the 
button indicates that you are in the Controllers menu. For more infor- 
mation about the Controllers menu, see page 71. 



30 E-MU Systems 



Basic Operations 
Edit Section 



Arp/Beats Button 



MIDI Button 



MIDI Panic Button 



Audition Button 



Compare Button 



Save/Copy Button 



The Arpeggiator menu contains parameters that are related to Beats mode 
and the Master Arpeggiator. Beats is a 16-track play-only sequencer that is 
optimized for live performance and groove creation. An illuminated LED in 
the button indicates that you are in the Arp/Beats menu. For more infor- 
mation about the Arp/Beats menu, see page 43. 



The MIDI menu contains parameters that are MIDI related. An illuminated 
LED in the button indicates that you are in the MIDI menu. For more infor- 
mation about the MIDI menu, see page 93. 



Pressing the MIDI and Home/Enter buttons simultaneously sends a MIDI 
"All Notes Off" and "All Sound Off" for all 16 MIDI channels. This immedi- 
ately kills all sounding notes internally and over MIDI. 



When the Audition button is pressed, the LED next to the button will 
illuminate and a short "Riff" (programmed as part of the preset) will play. 
The Riff is latched on and plays continuously until the button is pressed 
again. Presets can be changed while Audition is latched on. See "Bank Select 
Commands" on page 126 for more information on selecting banks via MIDI. 

The top line of the Preset display changes to show the MIDI Bank Select 
controller values needed to select the preset being auditioned. This handy 
feature lets you know the exact Bank and Preset number. 



MSB 



LSB 



Preset # 



Bank M5B:018 LSB:3 VROM 
072 3 syn: Modular Octs 



The Compare button allows you to toggle between an edited version of a 
preset and the original, unedited version. When a preset has been edited, 
the Save/Copy LED flashes. Press the Compare button, lighting its LED, to 
hear the unedited preset. Press the Compare button again to hear the edited 
preset. If edits are made to the preset while listening to the compared 
original version, compare mode is aborted and the compare LED goes off. 



The Save/Copy button is used to save changes to a preset, copy data 
between presets, randomize presets and to move other types of data. 
Selected groups of parameters, such as Patchcord settings, can be copied 
between Presets and/or between Layers using this menu. The menu is 



Vintage Keys Operation Manual 31 



Basic Operations 
Real-time Controller Knobs 



Preset Edit Button 



Home/ Enter Button 



Real-time 

Controller 

Knobs 



context-sensitive and will start at the appropriate save screen. See Save/ 
Copy on page 187 for more information. 

The LED in the button illuminates to indicate that you are in the Save/ 
Copy menu. The LED also illuminates when any preset parameter has been 
changed in the Preset Edit menu (or if the front panel knobs have been 
moved with Quick-Edit mode enabled). 



The Preset Edit menu allows you to create and edit presets. An illuminated 
LED in the button indicates that you are in Preset Edit mode. For more 
information about the Preset Edit menu, see page 129. 



The Home/Enter button is dual purpose. In general, this button acts as the 
"Home" button. For example, when in an Edit menu, this button snaps the 
cursor to the page name field of the current screen. When viewing the 
Preset Select screen, this button snaps the cursor to the preset number field. 
The flashing green LED of the Home/Enter button indicates that pressing 
the button will initiate a particular operation. 



The Real-time Controller Knobs serve dual purposes. Knobs Preset Quick 
Edit (page 79) can be enabled to use the knobs for editing in the Preset Edit 
menu. 

1. Quick Edit - Real-time control of internal synthesizer parameters and 
"Quick Editing" the initial settings of the real-time controllers 

2. Programmable Knobs - Real-time control of MIDI continuous 
controllers on external synthesizers. 



CtmtwUeis 



a - d E3 



FILTER CUTOFF FILTER RES 



SHAPE 



ATTACK DECAY/RLS MOVEMENT 



MOD 1 



MOD 2 



MOD 3 



IMAGE 



RATE 



MOD 4 




o 






A/E/l 



B/F/J 



D/H/L 



32 E-MU Systems 



Basic Operations 
Real-time Controller Knobs 



Knob Functions 



\ 



Quick Edit knob 
movements can be recorded into 
an external sequencer. 



Quick Edit mode 

The Real-time controller knobs provide direct control of the Vintage Keys's 
synthesizer parameters when the Controller Function Select is set to Quick 
Edit. 

There is an LED next to each of the control knobs which illuminates to 
indicate that the knob setting has been changed from the value 
programmed in the preset ("Knobs Preset Quick Edit" mode must be 
enabled in the Controllers menu). If the knob position is returned to the 
original setting, the LED is extinguished. 

Initial controller values can be stored in every preset. When you move a 
knob with Quick-Edit enabled, the Initial Controller Value is updated with 
the knob's new value. The knob's LED lights indicating that the preset value 
has been changed. The MIDI A-P values are stored in the corresponding 
Initial Controller Amount parameter in the Preset Edit menu (see "Initial 
Controller Amount" on page 167). The Save/Copy button LED flashes to 
remind you that the preset has been edited. "Quick-Edits" made to a preset 
are lost if you select another preset before saving them. 

The four rows of knobs always control the preset on the basic MIDI channel 
(the channel showing on the preset select screen), when the control switch 
is set to Quick Edit. 

The labels (Filter Cutoff, Filter Q Filter Attack, Filter Decay, etc.) printed on 
these rows show how the factory ROM presets are programmed to respond. 
(The controls may not exactly conform to the front panel labels depending on the 
preset.) You can change the way a preset responds to MIDI A-P messages 
from the Preset Edit menu (Patchcords). The knobs only generate a 
message when you move a knob to a new value. The current value jumps to 
the new value. 

► To Quick-Edit a Preset: 

1. Select Quick Edit mode using the Controller Function Select button. 

2. Use the Control Knobs to change the sound of the current preset as 
desired. 

3. Press the Save/Copy button. You may have to turn the data entry 
control so that the display reads, "Save PRESET to." 

4. Press the right cursor button to select the bottom row. 

5. Optional: Select a new preset location if you don't want to overwrite 
the current preset, or if the current preset is a ROM preset. 

6. Press the Enter button to save the preset. 



Vintage Keys Operation Manual 33 



Basic Operations 
Screen View Buttons 



Screen View 
Buttons 



Main 



Multi 



Mix Screen 



■DEMO MODE- 



n n ct 



MAIN 



MULTI 



MIX 



The Screen View buttons switch between three display modes. 



This button instantly switches the display to the Main Screen shown below. 
This screen is used for changing presets, changing MIDI channels and 
setting the volume and pan positions for each MIDI channel. See page 37 
for more information. 



C01 V127 POIr R:off User 
079 3 kit: Hide & Seek 



This button switches the display to the Multisetup menu. A Multisetup is a 
group of parameters that you might associate with a particular performance 
setup or song. See page 41 for detailed information about Multisetups. 



RESTORE MULTISETUP 
000 User Setup 



This button switches the display to the Mix screens (volume & pan). The 
mix screens allow you view and adjust the volume and pan settings for all 
16 channels. This is particularly useful when playing back a MIDI sequence. 
The volume and pan settings for all 16 channels are saved with the Multi- 
setup (page 41). 




34 E-MU Systems 



Basic Operations 
Screen View Buttons 



Demo Mode 



PRNS 

right , 

left 



Chan: 01 Vol: 127 



Pressing the Main and Mix buttons simultaneously calls up the Demo 
Sequence page. Vintage Keys has several factory demonstration sequences 
that let you hear what this incredible machine can do. The actual number 
of demo sequences depends on which ROM sounds sets are installed. 



DEMO SEQUENCES 
Mica's Dream 



VROM 



► To Play a Demo Sequence: 

1. Press and hold the Main and Mix buttons at the same time to enter the 
Demo Sequence page. The screen shown above appears. 

Select a sequence using the data entry control. The Enter LED will be 
flashing. 

Press the Enter button to begin playing the selected sequence. The 
following screen appears. 



2. 



3. 



PLRYING: Mica's Dream 
Press ENTER to stoo 



4. Press the Enter button again to stop playing the sequence. 

5. When a demo sequence plays to the end, the next demo will automati- 
cally begin playing. The screen will display the new demo name. 

6. With the sequence stopped, press any other button to Exit demo 
sequence mode. 



Vintage Keys Operation Manual 35 



Basic Operations 
Command Functions 



Command 
Functions 



Preset Selection 



Trigger Mode 



Preset Menu 
Jump Keys 



The Command Functions section serves multiple purposes which are listed 
below. 

• Beats Part enable/disable. See page 22. 

• Assignable & latchable note triggers. See page 76. 

• Preset select keys. Seepage 77. 

• External preset select keys. See page 78. 

• Preset Edit menu jump keys. See below. 



When the preset selection LED is lit, the command buttons can be used to 
quickly select sixteen of your favorite presets. In this mode, pressing one of 
the command buttons selects the preset you have assigned to the button. 
See page 77 for more information. 



Select Triggers mode by pressing the mode select button so that the 
"Triggers" LED is illuminated. Now the 16 buttons work like keyboard 
notes. Each of the 16 buttons can be assigned to any MIDI note, on any 
MIDI Channel (01-16), with any velocity (0-127), and can be set to be 
latched or momentarily on. Latched note will hold until the button is 
pressed again. Latched notes will be indicated by the LEDs. Trigger keys are 
assigned from the Controllers menu. See page 76 for more information. 



Whenever you are in the Preset Edit menu, the sixteen command buttons 
function as "jump" buttons to the various screens in the Preset Edit menu. 
The jump location is labelled directly below each button. 

Pressing a jump button instantly takes you to the first screen in the selected 
category. Pressing the button again takes you to the second screen in the 
category and so on. Repeated pressing will rotate you back to the first 
screen in the category. 



36 E-MU Systems 



Basic Operations 
Main Screen 



Main Screen 



MIDI Channel 
Selection 



Preset Selection 



Bank Contents 

0-128 RAM Presets 
; 1 - 128 RAM Presets 
] 2 - 128 RAM Presets 

3-128 RAM Presets 

■ - 1 28 ROM Presets 
: 1 - 1 28 ROM Presets 
: 2 - 1 28 ROM Presets 

77 Depending on 
ROM sets installed 



The Main Screen is accessed by pressing the Main button located directly 
under the data entry control. From this screen you can examine or change 
the Preset, Volume, Pan Position and Preset Location for each of the 16 
MIDI channels. 



C01 V127 POIr R:off User 
010° str: Tron Violins 



► To Change the MIDI Channel: 

1. Press the Main button to display the Main screen. 

2. Press the Channel inc/dec buttons located to the left of the liquid 
crystal display to select channels 01 through 16. The preset, volume 
and pan settings for each channel will be displayed as you scroll 
through the channels. 

The channel number shown in the main screen is the "Basic MIDI Channel' 
when in Omni or Poly modes. 



► To Change the Preset: 

1. Press the Main button to display the Main screen. 

2. Press either cursor key until the cursor is underneath the preset 
number. (The cursor is a little flashing line underneath one of the 
parameters in the display.) As you rotate the data entry control, the 
preset number and name changes. 

3. The displayed preset is assigned to the displayed MIDI channel. Presets 
are arranged into banks of 128, as shown in the diagram at left. 

Bank Number 



Preset 
Number 



^l\\ 



C01 W127 POIr R:off 
0M2 2 syn: FiltrBrass2 



User 



Using the screen above as an example, the superscripted number 2 in the 
second line of the display identifies the current bank number. 

• Select banks independently of the of the preset number by locating the 
cursor on the Bank field and turning the data entry control. 



Vintage Keys Operation Manual 37 



Basic Operations 
Main Screen 



Channel Volume 



MIDI BANK SELECT 




MSB 


LSB 






ccOO 


cc32 




USER 


00 


00 


BankO 


USER 


00 


01 


Bankl 


USER 


00 


02 


Bank 2 


USER 


00 


03 


Bank 3 


VROM 


18 


00 


BankO 


VROM 


18 


01 


Bankl 


VROM 


18 


02 


Bank 2 


VROM 


18 


03 


Bank 3 



This chart shows the MSB and LSB numbers needed to select preset banks over MIDI. 
Select a bank, then send the program change number. Without a bank select command, 
presets are selected from within the current bank. 



Channel Volume sets the volume of the selected MIDI channel in relation 
to the other channels. This is the same parameter as MIDI volume control 
#7, and changes made over MIDI are shown in the display. 



Volume 





\ 




cm 

023 2 


V127 P01r R:off 
pad: Horizons 


User 





► To Change the Channel Volume: 

1. Press the Main button to display the Preset Select screen. 

2. Press either cursor key until the cursor is underneath the volume value. 

3. Rotate the data entry control to select a volume level. The Channel 
Volume range is 000-127. 



38 E-MU Systems 



Basic Operations 
Main Screen 



Channel Pan 



Channel Arpeggiator 



Channel Pan sets the stereo position of the selected MIDI channel. This 
control operates like the balance control on your home stereo system. 
Channel Pan is the same parameter as MIDI pan controller #10, and 
changes made over MIDI are shown in the display. 



Pan Position 



\ 




C01 V127 POIr R:off 
023 2 pad: Horizons 


User 





Note: Pan settings in the preset ADD algebraically with the Channel Pan 
setting. Therefore, if the pan setting in the preset were set to "63r," moving 
the Channel Pan setting full left would return the sound to the center 
position. 



► To Change the Channel Pan: 

1. Press the Main button to display the Preset Select screen. 

2. Press either cursor key until the cursor is underneath the pan field. 

3. Rotate the data entry control to select a pan value. 64l indicates a hard 
left pan, 63r indicates a hard right pan. With a setting of "00," the 
sound is centered in the stereo field. 



This function controls the arpeggiator for each MIDI channel. When the 
channel arpeggiator mode is set to Off, then there is no arpeggiation on 
that channel, regardless of what is set up in the Master Arpeggiator or 
preset. If the channel arpeggiator is On, the preset's arpeggiator is used, 
regardless of whether or not it is turned on in the Preset Edit menu. This 
lets you turn on arpeggiation from the main screen. 

If the mode is set to "P" (for preset), the preset's arpeggiator settings and 
on/off status is used. If the mode is set to "M" (for master), the master 
arpeggiator settings and on/off status (located in the Arp menu) are used. 
See the "Arp/Beats Menu" on page 43 for more information. 

► To Play the Arpeggiator (Quick Start): 

1. From the Main screen, press either cursor key repeatedly until the 
cursor is underneath the arpeggiator field (A:). 

2. Rotate the data entry control to select "P" for preset. 

3. Press either cursor key repeatedly until the cursor is underneath the 
Preset Category field and select "arp:" using the data entry control. 

4. Press the right cursor button to move it to the Preset Name field. 

5. Play notes or chords on the keyboard. Change presets as desired to 
audition the various patterns and presets. 



Vintage Keys Operation Manual 39 



Basic Operations 
Sound Navigator 



Sound 
Navigator 



Preset Category 



Instrument Category 



Sound Navigator allows you to search through preset and instrument 
categories to find the type of sound you're looking for. Each preset and 
instrument has a name and a three letter preset category You can create 
your own categories in order to group favorite presets. The preset category 
is assigned in the Preset Edit menu (Preset Name). Instrument categories are 
fixed. 



When you want to find presets in a particular category you simply change 
the category field in the Main screen, then move the cursor to the preset 
name field to scroll through all the presets in the selected category. 

When the cursor is on the Preset Category field, turning the data entry 
control selects different preset categories. The Name Field will change to 
show the first preset in each category. 



C01 V127 POO R:off User 
023 2 pad: Horizons 



7* 



^ 



Preset Category 



Preset Name 



► To Change the Preset Category: 

1. From the Main screen (shown above), press either cursor key repeatedly 
until the cursor is underneath the preset category field. 

2. Rotate the data entry control to select one of the preset categories. 
Preset Categories are displayed in alphabetical order. 

► To Select a Preset within a Category: 

1 . After selecting a category, move the cursor to the Preset Name field. 

2. Rotate the data entry control to scroll through the presets in the 
selected category. Note that the preset numbers will no longer change 
sequentially. 



When the cursor is on the Instrument Category field (Preset Edit menu), 
turning the data entry control selects different instrument categories. The 
Name Field changes to show the first instrument in each category. Move 
the cursor back to the instrument name to choose other instruments in the 
selected category. 



L1 INSTRUMENT ROM:VROM 

00M2 syn:Classic Mini 



40 E-MU Systems 



Basic Operations 
Multisetups 



Multisetups 



x 



Vintage Keys always 
defaults to Multlsetup 00 on 
power up. 



Restoring 
Multisetups 



A Multisetup is a group of parameters that you might associate with a 
particular performance setup or song. It is like a "snapshot" of the current 
configuration of the Vintage Keys. There are 64 setups numbered 0-63. All 
the Multisetups are user programmable except 63, the factory setup. 

A Multisetup includes ALL the following parameters: 

• Preset/Volume/Pan/Arp assignments for each of the 16 MIDI channels. 

• Multisetup Name 

• ALL Controllers menu parameters 

• ALL Global Menu parameters, except... 

User Key Tuning Tables 

• ALL Arp Menu parameters, except. . . 

User Arp Patterns 

• ALL MIDI Menu parameters, except... 

MIDI Program Change->Preset Map 

When a Multisetup is selected, it overwrites the current Preset/Vol/Pan/Arp 
selections on all MIDI channels. It also overwrites the Controllers, Global, 
Arp, and MIDI menu parameters (with the exceptions noted above). 

If you make changes to any of these menus, Vintage Keys will retain the 
changes, even if power is turned off. They are of course, overwritten when 
you restore a Multisetup. 



Vintage Keys contains 64 Multisetup locations. These are all User locations 
except location 63, which is a factory defined Multisetup. 

Multisetups can be restored using a MIDI Bank Select command. 

Select: ccOO = 80, cc32 = 00, (dec) then send a Program Change command 

corresponding to the Multisetup you wish to select. 



RESTORE MULTISETUP 
003 Jazzercide 



► To Restore (Select) a Multisetup: 

Press the front panel Multisetup button (below the Data Entry Control). 

Scroll to the Restore Multisetup screen using the data entry control. The 
menu page most recently selected since powering up Vintage Keys will 
be displayed. The cursor appears below the first character of the screen 
heading on line one. 



1. 

2. 



Vintage Keys Operation Manual 41 



Basic Operations 
Multisetups 



Multisetup 
Name 



Saving 
Multisetups 



3. Press either cursor button to move the cursor to the bottom line of the 
screen. 

4. Now, use the data entry control to select a Multisetup. The Enter LED 
will be flashing. 

5. Press the Enter button to load the selected Multisetup. 

Multisetups can be named to make it easier to remember their purpose. 

1. Scroll to the "Setup Name" screen (shown below) using the data entry 
control. 



MULTISETUP NRME 
020 User Setup 23 



2. Press either cursor button to move the cursor to the bottom line of the 
screen. 

3. Change the characters using the data entry control. Change the cursor 
position using the cursor buttons. 

4. Press Enter or move the cursor to the top line when you're finished 
naming the multisetup. 



► To Save a Multisetup: 

1. Set the Preset, Volume, Pan and Arp settings for all channels. Set the 
Global, MIDI, and Controllers menu parameters the way you want 
them. 

2. Press the Multi button, then scroll to the "Save Setup" screen (shown 
below) using the data entry control. 



5RVE SETUP TO 

020 Destination Multisetup 



3. Press either cursor button to move the cursor to the bottom line of the 
screen. 

4. Now, use the data entry control to select the destination location. The 
Enter LED will be flashing. 

5. Press the Enter button to save the Multisetup. 



42 E-MU Systems 



Arp/Beats Menu 



^ 



Arp parameters are 
automatically saved to the 
current multisetup when you exit 
the menu, but you may wish to 
save to another location. 

If another Multisetup is 
"Restored" any unsaved 
changes will be lost if you 
haven't saved the Multisetup. 



Arp/Beats Menu 



Vintage Keys's Beats mode allows you to trigger, latch and unlatch synced 
loops and grooves from separate keys on your keyboard. Simply select a bts: 
preset and play the 16 trigger keys to bring specific Parts in and out. This is 
Macro-Music! 

Vintage Keys can also run up to 16 simultaneously synced arpeggiators, 
each with a different preset sound. The arpeggiators can either play one of 7 
chord arpeggios or can be set to play a pattern, which is a stored sequence 
of notes. Combined with Beats, the sheer number of possible musical 
permutations is staggering! 

► To enable the Arpeggiator/Beats menu: 

Press the Arp button, lighting the LED. The Arp screen displays the menu 
page most recently selected since powering up Vintage Keys. The cursor 
appears below the first character of the screen heading on line one. 

► To select a new screen: 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading on the top line of the display. 
Rotate the data entry control to select another screen. 

► To modify a parameter: 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To access a submenu: 

The Master Arpeggiator screens have submenus which are accessed by 
pressing the cursor buttons to move the cursor to the lower left corner of 
the display. Select the submenu function using the data entry control. 

► To save Arpeggiator parameters: 

Press the Multi button and scroll to "Save Setup To". Select a Setup number 
and press Enter. See "Saving Multisetups" on page 42. 

► To return to the previously selected Mode/View screen: 

Press the Arp/Beats button, turning off the LED. 



Vintage Keys Operation Manual 43 



Arp/Beats Menu 
Beats 



Beats 



&6 

Beats (bts:) Riffs are 
special 1 6-part riffs made 
especially for use with Beats 
mode. A Riff without the bts: 
prefix only has Part 1 recorded. 



X 



By assigning Trigger 
Buttons (page 76) to the 
keyboard Beats Layout Keys, you 
can trigger Beats and MIDI notes 
using the Trigger buttons. 



Vintage Keys contains a 16-track play-only sequencer that is optimized for 
live performance and groove creation. Vintage Keys contains dozens of 
special 1 6-part Beats Riffs created by some of the best producers in the 
business. Beats Riffs are normally used in conjunction with a "bts:" preset 
containing the appropriate percussion mapping, but any preset can be 
selected and used. 

The Beats channel is selected from the Beats enable screen in the Arp/Beats 
menu. 

Here's how it works. Each of the 16 parts is assigned to a trigger key on the 
selected Trigger MIDI channel. Each part is brought in or out by pressing 
that key. Keys can also be Latched (press the key once to turn the part on, press 
it again to turn the part off). Other control keys allow you to Mute All Parts, 
Clear All Parts, and Start & Stop the beat. The 16 parts are arranged in the 
following manner: 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


1. Kickl 


5. Kick2 


9. Perc3/Fill1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/Fill2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Percl 


8. Perc2 


12. Perc6/lnst. 


16. Bass 



For each Beats Riff, you have 2 Grooves, 4 Fills which correspond to the 
four parts of the Main and Alternate groove, and 4 Instrument parts. By 
adding and removing parts, you control the complexity of the groove. 

Each part can also be scaled by Key Velocity, allowing you to fade parts in 
and out (if velocity is routed to volume) as you play, or can be Transposed 
over a six octave range. 

Each part can be assigned to any one of four Groups, which allow multiple 
parts to be triggered from a single key. You can only access Groups using 
the keyboard trigger keys. See the Factory Setup diagram on the next page. 

Trigger layouts are saved with the Multisetup. 



44 E-MU Systems 



Arp/Beats Menu 
Beats 



X 



Starting Beats mode 
with the Start/Stop key allows 
you to start the sequencer rolling 
silently. Then you can bring Parts 
in and out using the "Busy" 
control. 



^ If Mute is set to 1 -bar, 
the Part mutes for 7 bar then 
un-mutes. 



Factory Setup 

Multisetup 63 



00 -~ 

re o 

°- X 



re 



en 



I I 



re y 

c <u 

OO Q_ 

I I 



*— no 



+j m uo 



re 



u u 



X c c 
• - O) <u 

X D_ D_ 
I I I 



11 

+-» +-> 

c c 

I I 



m 

Q. 

o 

1_ 

<J 
I 



1 ™™ 



C-2 



C-1 



CO 



Main 
Groove 



Alternate 
Groove 



1 1 


1 1 1 1 

«- t- <N (N 


i i i i i i i i 


tart/Sto 
Mut 


Kick 
HiHat 

Kick 
Snare 


Perc 
rc4/Fill 
re 6/Fill 
1 /Wild 
3/Wild 
Group 
Group 
Group 


<~n 




^^?? 



The chart above shows the Factory Multisetup assignment of each Part, the 4 Groups and 
the Control Keys. These assignments can be modified to suit your personal preference, 
then saved in one of the Multisetup locations. 



• Start/Stop Trigger 



• Clear Parts 

• Mute 

• Trig Hold 



Starts the beat sequencer from the beginning of 
the sequence. When latched, pressing once starts 
and pressing again stops. When unlatched, the 
sequence runs as long as the key is held. 
Once the Beats sequencer is started, it continues to 
run even if no triggers are active. 

Start/Stop doesn't clear latched parts when it stops 
the sequencer. Any trigger played after stopping 
will not only start the sequencer and play that trig- 
ger's part, but also play all previously latched parts. 

Clears any enabled parts. This control provides a 
quick and easy way to shut off all latched Parts. 
Latch mode has no effect on this key. 

Mutes all Parts while held, but the Beats sequencer 
continues running. 

When this key is held, all other Trigger Keys 
behave as if they were in Latch mode. 



Vintage Keys Operation Manual 45 



Arp/Beats Menu 
Beats Mode 



Beats Mode 



>0 The Basic Channel is the 
MIDI channel currently displayed 
in the Main Screen. 



The Beats sequencer plays as long as any Beats triggers are active. Beats Riffs 
can also be Restarted using a MIDI Song Start command even if the Beats 
channel is not currently selected. The Audition LED illuminates whenever 
the Beats sequencer is running (even if no Parts are playing). 

Pressing the Audition button or starting a Demo causes the Beats sequencer 
to stop. Pressing the Audition button plays selected Parts on "bts:" presets. 

All Arp/Beats parameters are saved with the Multisetup. (See "Multi- 
setups" on page 41 for more information.) 



This screen turns Beats mode on and has several other features which allow 
flexible control over Beats mode. There are several status modes that 
determine when Beats will be turned on and which Riff will be used. 

Beats and BEAT Triggers can be set to different MIDI channels. This allows 
you to perform on two MIDI channels at once with a keyboard that only 
transmits on a single MIDI channel. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Status 

• Off Beats mode off. 

• On Beats mode on. The Riff assigned in the preset is used. 

• P Beats mode is turned on ONLY if the Riff assigned in the 

preset is a "bts:" riff. The Riff assigned in the preset is used. 
(Default setting) 

• M Beats mode on. The Master Riff is used (Arp/Beats menu). 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Beats Channel (BtsCh) 

• 01-16 Selects the MIDI channel on which Beats play. 

• Basic Beats play on the MIDI channel displayed in the Main Screen. 

Trigger Channel (TrigCh) 

• 01-16 Selects the MIDI channel on which Trigger Keys will be active. 

• Basic Sets the Trigger Keys to the MIDI channel displayed on the 

Main Screen. 



46 E-MU Systems 



Arp/Beats Menu 
Beats Mode 



&6 

If you don t select a 
"bts:" preset, only the first 
trigger key will work. 

Riffs marked "bts:" have 16 
parts. Riffs without "bts:" have 
only 7 part. 



► Beats Setup: 

Set the Trigger Buttons to Beats Mode 

1 . Press the Controllers button on the front panel. 

2. Turn the data entry control clockwise until you fin the "TRIGGER 
BUTTONS FUNCTION" screen. 

3. Set the lower line of the display to read, "Play Beats Parts". 

4. Press the Controllers button on the front panel again to exit the menu. 

Set the Trigger Buttons to be Triggers 

5. Press the Triggers button in the Command Functions section of the 
front panel. OK, now you're ready to start playing Beats. 



► Playing Beats: 

Selecting Beats Presets 

1 . Press the right cursor button twice so that the cursor is located 
beneath the Category field. 

2. Turn the data entry control until bts: is shown in the Category field. 

3. Press the right cursor button so that the cursor is underneath the 
Preset Name field. 

4. Now turning the data entry control selects ONLY bts: presets! 

Play Beats 

5. Press any of the sixteen front panel Trigger Buttons. Notice that each 
button brings in a specific part. The chart below shows which buttons 
control which part in bts: presets. 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


1. Kickl 


5. Kick2 


9. Perc3/Fill1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/Fill2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Percl 


8. Perc2 


12. Perc6/lnst. 


16. Bass 



6. Also notice that the Audition LED comes on when Beats begin playing. 
Beats are simply multitrack Audition Riffs. You can use the Audition 
button to turn Beats on and off. 

7. Try out a few different bts: presets. 



Vintage Keys Operation Manual 47 



Arp/Beats Menu 
Beats Mode 



^ 



Wrong FX? In Omni 
mode, the FX assigned to 
channel 2 will be used. In Multi 
mode, the Master FX settings 
will be used. See pages 88 & 98. 



Get Busy! 

Two of the Controller knobs are programmed to control Beats. Check it out! 

8. Press the E-H button in the Controllers section. Its LED will light. 

9. Now turn the Movement knob with a Beats Riff playing. Movement 
controls the Beats Busy parameter which adds or subtracts parts from 
the Beat. 

10. Turn the Rate knob with a Beats Riff playing. Rate controls the Beats 
Variation parameter. Beats Variation changes which parts are playing 
without changing the number of parts. This makes it easy to try out 
different combinations of Beat Parts. 



► To Play Beats on a different MIDI channel: 

Beats can be assigned to a certain MIDI channel while you play the 
keyboard on another channel. (Make sure you have Beats mode set up correctly 
as described in "Beats Setup" on page 47.) 

1. Press the Arp/Beats button. The screen shown below appears. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



2. Set the Beats Channel (BtsCh) to 01. 

3. Select any bts: preset on channel 1 (main screen). 

4. Press any of the sixteen Beats buttons to start your Beat playing. (Do 
NOT start Beats by pressing the Audition button.) 

5. Press the + Channel button to the left of the LCD to select channel 2. 

6. Select a preset to jam along with the Beat. 

7. The Trigger Keys now play Beats and the other keys play the preset on 
channel 2. 

8. The Audition button can be used to turn the Beat off. (If you try to use it 
to turn Beats on while on channel 2, the Riff on channel 2 will play.) 



48 E-MU Systems 



Arp/Beats Menu 
Beats Controllers 



Beats Controllers 



>0 The Movement controller 
knob is assigned to Beats Busy. 



Beats can be controlled using the front panel real-time controllers or 
external MIDI continuous controllers. Controllers are patched to Beats 
via the Preset Patchcords located in the Edit menu. The following Preset 
Patchcord destinations control Beats. 

Beat Velocity Group 1-4 (BtsVelGI -> BtsVelG4) 

Parts assigned to one of the four Beats groups can have their velocity scaled 
by the controller input. Since most "bts" presets have velocity controlling 
volume, this control can be used to mix the relative levels of the Groups. 

Beats velocity works as a percent addition. An input value of (or no Cord) 
means change the velocity by 0%. A full scale modulation setting of 100% 
in the Patchcord adds 100% to the velocity value 100% + 100% = 200%. A 
Patchcord setting of -100% subtracts 100% from the velocity (making it 0). 
Beat velocity scalings are reset with a preset change. 

Beat Xpose Group 1-4 (BtsXpsGI -> BtsXpsG4) 

Parts assigned to one of the four Beats groups are transposed by the 
controller input. Transpose works by shifting the keyboard position and 
not by changing the tuning of individual notes. Therefore, on a Beats 
presets (bts), where different instruments are assigned to each key, 
Transpose has the effect of changing the instrument used by a particular 
part. This control ADDS to the Part Transpose set in the Beats Transpose 
screen (page 53). Beat transpose offsets are reset with a preset change. 



Original 
Part 



Transposed 
+12 



± | 



Kick -c 



l l l l l l l l l l l l 



l l l l l l l l l l 

rereoOreOo.O-9-9-9-9-9- 1 -- 



I I I I I I I 



:i- E E E E E 



c\S> 5 



'5 ° ° B a. 



£ Crowd 



SI 



"1 O Ons-O^^^^^" 



E 
E 

i>0 






-6g£3§<8 

on Q_ 
on 



OTU -2-^(1 n-n«,^ 



Ex 

■ o 

en 
o 
en 
< 



"D "D _0J <v 

5 5 .1 .1 



Beat Busy (BtsBusy) 

This destination determines which parts are enabled. Beat Busy will accept 
either positive or negative values. 

• Positive values Add parts to whatever parts are triggered 

• Negative values Remove parts that are triggered. 



Vintage Keys Operation Manual 49 



Arp/Beats Menu 
Beats Controllers 



V 



A Patchcord amount of 
50% is enough to drive Beat 
Busy to the maximum setting. 



\ 



Hot Tip! 
The Bidirectional Mod Wheel: 

Set Mod Wheel to BtsBusy with a 
Cord amount of + 100, then add 
a DC bias to BtsBusy with a Cord 
amount of -50. Wheel now adds 
or subtracts "Busyness". 



\ 



Cool Tip! Connecting 
Key Pressure to Beat Busy at 
50% increases BEAT complexity 
the harder you press. 



>0 The Rate controller knob 
is assigned to Beats Variation. 



Suppose the pitch wheel (which can output both positive and negative values) 
were connected to Beat Busy and four Key Triggers are down. As the pitch 
wheel is moved from center to fully up, the remaining parts will be enabled 
until the pitch wheel is fully up and all parts are playing. Moving the pitch 
wheel from center to fully down, the four triggered parts are sequentially 
removed until at the most negative position of the wheel, no parts are 
playing. 

The Busy control acts on the Beats condition whenever the control is 
changed. Playing more triggers without changing the Busy control simply 
adds them until the Busy control is changed again, at which point it will 
possibly add or subtract parts as needed. 

The interaction between the Busy control, Triggers, Part Velocity and Group 
Velocity can get complicated, but works according to this rule: 

WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER 

When interacting with the Group Velocity scale control, the Busy control 
ignores group velocity even when it is set to zero, enabling and disabling 
parts as necessary. If the Group Velocity is changed after the Busy control, it 
takes control, scaling parts as it deems necessary. 

The Busy control does take the Part velocity into account when adding and 
subtracting parts. If a part has a velocity of 0%, it is removed from the list of 
parts that the Busy control adds or subtracts. Therefore, you can use the 
Part Velocity control to remove parts you don't want to hear. 



+ Brings in Parts 




I 







II 




Played 




— Removes Parts 



Positive controller values bring in new Parts and negative controller values remove 
Parts that are latched or held. In this example, the Pitch Wheel is connected to 
Beat Busy since it outputs negative as well as positive values. 



Beat Variation (BtsVari) 

Beat Variation varies which parts are brought in and out using the Beat 
Busy control. Increasing this control mixes up the order in whichparts are 
brought in and out, thus providing even more permutations to the Beat. 



50 E-MU Systems 



Arp/Beats Menu 
Beats Keys Layout 



Beats Keys Layout 



&6 

Save your Beats Keys 
Layouts and all other Arp/Beats 
parameters using "Save Setup" 
function in the Multisetup 



This screen assigns the Beats triggers to keyboard notes on the Beats 
channel. For each Part, Group and Control Key you can select the following 
options: 

• Key Selects which keyboard key triggers the Part 

• Latch The first key press turns the Part on, the next turns it off. 

• Unlatch The Part plays only while the key is held. 

• 1-bar The Part plays for one bar then stops. 



BERTS KEYS LRYOUT 

Part 1 Key: CI unlatch 



1-Bar Trigger Option 

The 1-bar option requires a bit of explanation. When a trigger key is pressed 
before the last beat of the measure, the part will continue playing until the 
end of the measure. If the Trigger Key is pressed after the last beat of the 
measure, the part waits until the next measure before playing. Then it plays 
for the entire measure and stops. The time signature and the measure 
bounds are determined by the particular Beats Riff you are playing. 



Trig Key 

pressed before 

the last beat 



Part continues 
to end of measure 
then stops. 









>■ 










1 


2 


3 


4 


1 


2 


3 


4 j 




Meas 


ure 1 






Measure 2 







Trig Key 

pressed 

here 


Part begins at 
next measure and 
plays entire measure 
















i 














1 


2 


3 


4 


1 


2 


3 


4 






Measure 1 


Measure 2 i 



Vintage Keys Operation Manual 51 



Arp/Beats Menu 
Beats Keys Offset 



Beats Keys Offset 



Beats Part Velocity 



This function slides the Beats Trigger keys (assigned in the previous screen) up 
and down the keyboard. This makes it easy to change the keyboard location 
of the trigger keys without having to re-assign each key A positive offset 
moves the group of triggers up the keyboard by the designated number of 
keys. Negative offsets move the trigger group lower on the keyboard. 



BERTS KEYS OFFSET 
+000 keys 



n 








n 



Trigger 
Keys 

Beats Keys Offset slides the entire group of beats triggers up or down the keyboard. 



Each note of a Beats Riff can have its recorded velocity scaled by a value 
(from to 120%) of the recorded velocity or the actual played velocity of 
the trigger key can be used (trigger vel). For example, if a note's velocity is 
80, scaling by 110% will increase the note's velocity to 88. This feature 
allows you to control the mix of the different parts in advance or "on-the- 
fly" as you play. If a part's velocity is set to 0%, that part will be removed 
from the mix. 

Select Part 



fc 



BERTS PRRT VELOCITY 
Scaled by: trigger vel 



► To Set the Velocity for each Part: 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can he edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

Move the cursor to the bottom line using the cursor keys and adjust the 
Velocity Scaling percentage using the Data Entry Control. 

Repeat steps 1 through 3 for all the Parts you wish to adjust. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



52 E-MU Systems 



Arp/Beats Menu 
Beats 



Beats Part Transpose 



Each Part of a Beat Riff can be transposed up to 36 semitones up or down. 
Transpose works by shifting the keyboard position and not by changing the 
tuning of individual notes. Therefore, on a Beats preset (bts:), where 
different instruments are assigned to each key Transpose has the effect of 
changing the instrument used by a particular part. On a preset where a 
single sound covers the entire keyboard, Transpose will actually transpose 
the sound. 



Select Part 



h 



BERTS PRRT TRRN5P05E 
+00 semitones 



► To set the Transposition for each Part: 

1. Press the left cursor button to move the cursor under the Part field. 

Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

Move the cursor to the bottom line using the cursor keys and adjust the 
Transposition in semitones using the Data Entry Control. 

Repeat steps 1 through 3 for all the Parts you wish to adjust. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Original Transposed 
Part +12 



2. 

3. 

4. 
5. 



. | 



Kick 



_^ u u 

§1 



SEE 

; iz o O 

: S 1- *-'■ 

' <st ,_ ^ . 

"i on 

00 C o 
O O on 

oo E , 



E E 

° 



r- <* 

E S 
O On 



E iz IZ IZ IZ IZ Si 

o-Q -a -a -a .a 5 
i- E E E E E ° 

0\ ^*~i ^*~i 5*^i 5*~i 5*~i ,-, 

oU u u u u §■ 

"D S3 J= "D o 
2-2 ££*> 



LT) 



un 



= ?*§ 

o o 5 l- 

o 
en 
< 



co 



irsooo-^-^tuc 1 
£ '5 '5 '5 o o = □. 

U -a "o a> <u 

§ §^"& 
§ § .1 .1 



l l l l 

Crowd 



Vintage Keys Operation Manual 53 



Arp/Beats Menu 
Beats 



Beats Part Group 



&6 

All Parts assigned to a 
Croup will stop playing when 
the Croup key is triggered, then 
untriggered even if the individual 
Parts in the Croup are latched. 



Master Riff 



This screen is where you assign Parts to one of the four Groups. By 
grouping, you can play multiple parts with a single key A part can be in 
one and only one group, or in no groups. 

Select Part 



PI 



BERTS PRRT GROUP 



Group: 



► To Assign a Part to a Croup: 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

3. Move the cursor to the bottom line using the cursor keys and select the 
Group (1-4 or none) using the Data Entry Control. 

4. Repeat steps 1 through 3 for all the Parts you wish to assign. 

5. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



The Master Riff is selected from this screen. The Master Riff is used when 
Master (M) is selected for Beats in Beats mode enable screen. 



MRSTER RIFF 
Plays: KEY-C3 



VROM 



► To Assign the Master Riff: 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select the desired Riff using the Data Entry Control. (Beats Riffs are 
identified by the bts: prefix.) 

If there is more than one ROM in Vintage Keys you can select Riffs from 
either ROM set. Move the cursor under the ROM ID and select using the 
Data Entry Control. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



3. 



4. 



54 E-MU Systems 



Arp/Beats Menu 
Beats 



Riff Tempo 



Riff Controllers 



This setting determines whether Riff Tempo (the tempo stored with each 
Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be 
used for Beats. 

To control the Riff Tempo from MIDI clock, set Riff Tempo to "use current 
tempo" and Base Tempo to "use MIDI". 



RIFF TEMPO 
use riff tempo 



► To Set the Riff Tempo Mode: 

1 . Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff tempo" or "use current tempo" using the Data Entry 
Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Riffs contain real-time control information. This function allows you to 
turn these controllers On or Off for the Riffs. This control affects Audition 
Riffs as well as Beats Riffs. 



RIFF CONTROLLERS 
use riff controllers 



► To Turn Riff Controllers On or Off: 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff controllers" or "ignore riff controllers" using the Data 
Entry Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Vintage Keys Operation Manual 55 



Arp/Beats Menu 
MIDI Song Start 



MIDI Song Start 



Arp/Riff 
MIDI Out 



This function enables or disables MIDI Song Start for the Arpeggiator and 
Riffs. The MIDI Song Start option restarts the arpeggiator and/or Riff (BEAT) 
to the beginning when a MIDI Song Start command is received. This is 
useful for synchronizing arpeggios and Beats when recording into, or 
playing along with a sequencer. You can choose to resync: Arp, Riff, both 
Arp and Riff, or disable MIDI Song Start. 



MIDI SONG 5TRRT 
resyncs arps & riffs 



This parameter selects whether or not the Arpeggiator and/or Riff (Beats) 
note data is sent to the MIDI out port. This feature lets you use Vintage 
Keys as an arpeggiator or sequencer for your other MIDI instruments. It also 
lets you record the arpeggios and Riffs into a MIDI sequencer. You can 
choose to transmit: Arpeggiator data, Riff data, both Arp and Riff data, or 
nothing. 



RRP/RIFF MIDI OUT 
don't transmit 



56 E-MU Systems 



Arp/Beats Menu 
Arpeggiators 



Arpeggiators 



&6 

SAVE your Arp setups 

and name them using the "Save 
Setup To" function located in the 
Multi menu. See" Saving 
Multisetups" on page 42. 



X 



Hot Tip! Synchronize 
the effect delay time to your 
arpeggiator patterns to create 
complex polyrhythms. See 
page 1 76 for details. 



An arpeggiator moves a pattern of notes sequentially over a range of the 
keyboard. Vintage Keys has the unique ability to play a different arpeg- 
giator on each MIDI channel! 

Arpeggiator settings can be denned as part of the preset (using the Arp 
parameters in the Preset Edit menu), or globally in the Arpeggiator menu. 
The preset and master arpeggiators have the same parameters which we 
define in this chapter. 

The Arp field in the main screen defines which arpeggiator settings will be 
used. "M" uses the master Arpeggiator settings and on/off status (as denned 
in the Arpeggiator menu). "P" uses the preset's arpeggiator settings and on/ 
off status (as defined in the Edit menu). Choosing "On" uses the preset's 
arpeggiator settings regardless of whether or not it is turned on in the Edit 
menu and Off turns off the arpeggiator regardless of the settings and status 
specified in either menu. 



Arp Settings in the 
Preset are Used 



\1 


C01 
0M7 3 


V127 POO R:P User 
arp: Sine Drum 



All arpeggiators share Vintage Keys's master clock and its current setting. 
The master clock can be Vintage Keys's internal clock or an external MIDI 
clock (page 82). Although the arpeggiators use the master clock setting, the 
tempo divisor can be unique for each arpeggiator setup. 

Arpeggiator modes include up, up/down, forward assign, backward assign, 
forward/backward assign and random as well as play Patterns. Patterns are 
pre-recorded sequences of notes and rests. All key-on notes play the 
pattern. For example, if you play a chord, all the notes in the chord play the 
pattern in harmony. Vintage Keys contains 200 factory patterns and 100 
user definable patterns. 



Vintage Keys Operation Manual 57 



Arp/Beats Menu 

Master Arpeggiator Parameters 



Arp Controllers 



Master 

Arpeggiator 

Parameters 



The Arpeggiators can be controlled using the front panel real-time 
controllers or external MIDI continuous controllers. Controllers are 
patched to Arps via the Preset Patchcords located in the Preset Edit menu. 
See "Preset Patchcords" on page 165. The following Preset Patchcord destina- 
tions control the Arpeggiators. 

Arpeggiator Resolution (ArpRes) 

This control changes the Arpeggiator Note Value, which defines the length 
of the notes when playing arpeggiated chords. It adds to the note value set 
in the Arpeggiator Note Value screen. See "Note Value" on page 60. 

Arpeggiator Extension (ArpExt) 

This control changes the Arpeggiator Extension Count. It adds to the 
extension count programmed in the Arpeggiator Note Value screen. See 
"Extension Count" on page 62. 

Arpeggiator Velocity (ArpVel) 

This control changes the Arpeggiator Velocity Value. It scales the velocity 
value set in the Arpeggiator Note Value screen. See "Velocity" on page 61. 

Arpeggiator Gate (ArpGate) 

This control changes the Arpeggiator Gate Time. It adds to the gate time set 
in the Arpeggiator Gate Time screen. See "Gate Time" on page 61. 

Arpeggiator Interval (Arplntvl) 

This control modulates the Arpeggiator Extension Interval. It adds to the 
extension programmed in the Arpeggiator Extension Interval screen. See 
"Extension Interval" on page 62. 



The Master Arpeggiator is defined in the Arp menu. The Arpeggiator mode 
selected on the Main Screen determines whether the Master arpeggiator or 
the Preset menu arpeggiator settings are used. 

► To Access the Master Arpeggiator Parameters: 

1. Press the Arp menu button lighting the LED. The Arpeggiator menu 
screen displays the menu page most recently selected since powering up 
Vintage Keys. The cursor appears below the first character of the screen 
heading on line one. 

2. Use the right cursor button to advance the cursor to the first field in the 
bottom line of the screen. 

3. Now, use the data entry control to access the various Master 
Arpeggiator parameters. 

4. Save your Arpeggiator settings using the "Save Setup" function on the 
Multi menu. 



58 E-MU Systems 



Arp/Beats Menu 
Master Arpeggiator Parameters 



Status 



The Status parameter turns the Master Arpeggiator on and off. The Channel 
Arpeggiator setting in the main screen overrides this setting. For example, if 
you set the Arpeggiator in the main screen to "off," and turn it "on" here, it 
still will not play. 



MR5TER RRPEGGIRTOR 
Status 



off 



Mode 



The Mode parameter determines the direction or pattern mode of the 
arpeggiated notes. 



MRSTER RRPEGGIRTOR 
Mode 



uo 



The eight arpeggiator modes are: 
• Up 



Held notes arpeggiate continuously from lowest to 
highest pitch. 

Held notes arpeggiate continuously from highest to 
lowest pitch. 

Held notes arpeggiate continuously from lowest to 
highest pitch, then from highest to lowest, then repeat 
this cycle. 

Held notes arpeggiate continuously in the order in 
which the keys were pressed. 

Bkwd Assign Held notes arpeggiate continuously in the reverse order 
in which the keys were pressed. 



• Down 



• Up/Down 



Fwd Assign 



Fwd/Bkwd 



Random 



• Pattern 



Held notes arpeggiate continuously in the order in 
which the keys were pressed, then arpeggiate in the 
reverse order that they were pressed. The cycle is then 
repeated. 

Held notes arpeggiate continuously in a random 
fashion. 

Held notes play the selected pattern (see "Pattern" on 
page 60 for details). 



Vintage Keys Operation Manual 59 



Arp/Beats Menu 

Master Arpeggiator Parameters 



Note Value 



>0 Note value has no effect 
when the mode is set to 
"pattern. " 



Arpeggiator Pattern 
Speed 

Pattern 



The Note Value determines the duration of each note played. This 
parameter is used in non-pattern mode only. 



MR5TER RRPEGGIRTOR 
Note Value 



1/8 dot 



Following is a list of possible Note Values and the relative number of clocks 
used for each. 

Note Value MIDI Clock 

Double Whole Note 192 

Dotted Whole Note 144 

Double Note Triplet 128 

Whole Note 96 

Dotted Half Note 72 

Whole Note Triplet 64 

Half Note 48 

Dotted Quarter Note 36 

Half Note Triplet 32 

Quarter Note 24 

Dotted Eighth Note 18 

Quarter Note Triplet 16 

8th Note 12 

Dotted 16th Note 9 

8th Note Triplet 8 

16th Note 6 

Dotted 32nd Note 4.5 

16th Note Triplet 4 

32nd Note 3 



The Arpeggiator Pattern Speed parameter lets you change the playback rate 
of Patterns by l/4x, l/2x, lx (normal), 2x or 4x normal speed. 



This field lets you choose the pattern used when the arpeggiator Mode is set 
to "Pattern." There are 200 factory programmed patterns and you can 
create an additional 100 user definable patterns (see "Editing a User Arpeg- 
giator Pattern" on page 67). 



MRSTER RRPEGGIRTOR 
Pattern 99 1 Pattern Name 



60 E-MU Systems 



Arp/Beats Menu 
Master Arpeggiator Parameters 



Velocity 



>0 Controller Knob is 
programmed to control Arp 
Velocity. 



Gate Time 



>0 Controller Knob P is 
programmed to control Arp Gate 
Time. 



^ 



The note-on time is used 
for the start-of-time when 
calculating note durations. See 
"Duration" on page 64. 



The Velocity parameter determines the velocity at which each note arpeg- 
giates. Velocity can be denned by the velocity value specified (from 1 
through 127), or by the actual velocity of the played note (played). Bear in 
mind that velocity values do not have an effect on the sound unless the 
preset is programmed to respond to velocity 



MRSTER RRPEGGIRTOR 
Velocity 



played 



The Gate Time parameter works together with the Note Value parameter. 
Just as Note Value defines the length of a note, the Gate Time sets the 
percentage of the Note Value time played. This can have a dramatic effect 
on the sound depending on how the envelope generators are programmed. 



MRSTER RRPEGGIRTOR 
Gate 



100% 



With a Gate Time setting of 100% the note is held on until the next note 
starts. The envelope generators never advance to the Release stages. With a 
Gate Time setting of 50%, the note is released halfway through the note 
cycle and the envelope generators proceed to their release stages until the 
next note occurs. Refer to the following illustration. 

Selected Note Value (8th notes, 1 6th notes, etc.) 



Gate 
Time 

100% 



75% 



50% 



25% 



key-on 
time 











key-on 
time 











key-on 
time 











J I I L 



Vintage Keys Operation Manual 61 



Arp/Beats Menu 

Master Arpeggiator Parameters 



Extension Count 



Extension Interval 



The Extension Count parameter specifies how many times the Extension 
Interval is carried out. With an Extension Count of 0, the arpeggio plays 
only the notes pressed. With an Extension Count of 1, the arpeggio plays 
the notes pressed, then plays the same notes (in the same order), trans- 
posed by the Extension Interval amount. The cycle is then repeated. 



MR5TER RRPEGGIRTOR 
Extension Count 



For example, with the Extension Interval set to 12 (an octave) and an 
Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if 
you played E2, then C2, then G2, the arpeggiated sequence would consist 
of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count 
values range from through 15. Refer to the following illustration. 



Back 









2TT1 


Ml 


5 i i 4 


Ml 


8\\7 


Ml 










Extend 1 Extend 2 



The Extension Interval specifies the additional intervals played when you 
press a key. For example, suppose you played C2 with an Interval of 7 (a 
Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates 
between C2 and G2. 

The Extension Interval values range from 1 through 16. 



MR5TER RRPEGGIRTOR 
Extension Interval 



62 E-MU Systems 



Arp/Beats Menu 
Master Arpeggiator Parameters 



Sync 



The Sync parameter defines when a note is played in relation to when the 
key is pressed. When set to "Key Sync", the note sounds the instant a key is 
pressed. When set to "Quantized", the note does not sound until the next 
occurrence of the selected note value. 



MR5TER RRPEGGIRTOR 

Sync key sync 



The following diagram illustrates how Key Sync and Quantize work. 



Key 
Pressed 



Key Sync 



Quantize 



Note Sounds 
Immediately 



Quarter Notes 

Note Doesn't Sound until 
the Next Quarter Note 



Quarter Notes 



Pre-Delay 



The Pre-Delay value determines how long the arpeggiator is delayed before 
becoming active after the first "note-on." During the pre-delay period, 
notes are played normally (as if the arpeggiator was off). After the pre-delay 
period has elapsed, the arpeggiator kicks in. Once you release all the keys 
on the controller, the pre-delay starts over with the next note-on. In combi- 
nation with the Duration parameter, Pre-Delay lets you create many more 
variations in the arpeggio patterns. Please refer to the diagram on page 65. 

You can play the preset normally as long as you don't hold the notes longer 
than the Pre-Delay. If you do, the arpeggiator starts in. When used in 
conjunction with multiple arpeggiators, Pre-Delay allows you to offset the 
time between the different patterns. 



MRSTER RRPEGGIRTOR 
Pre-Delay 



off 



Vintage Keys Operation Manual 63 



Arp/Beats Menu 

Master Arpeggiator Parameters 



Duration 



Post-Delay 



This parameter defines how long the arpeggiator plays before stopping. The 
Duration is specified in note values. Therefore if an arpeggio were running 
at a 16th Note Value and the Duration were set to a whole note, the arpeg- 
giator would play 16 steps before stopping. After the duration has elapsed, 
the arpeggiator remains inactive until the key is released. If Duration is set 
to Off, the arpeggio repeats as long as the notes are held (Infinite Duration). 



MR5TER RRPEGGIRTOR 
Duration 



1/ld 



Duration can be used to modify the patterns and increase the possible 
pattern combinations and variations. Because this parameter limits the 
length of arpeggiator play time, it can change the arpeggio pattern when 
the Duration is less than the length of the arpeggio. You can set the 
arpeggio to repeat continuously using the Recycle function described below. 



This parameter is only relevant when both the "Duration" and "Recycle" 
parameters are not in the "Off" state. The Post-Delay value determines how 
long the arpeggiator is delayed after the Duration period. Please refer to the 
diagram on page 65. During the post-delay period, notes are played normally 
(as if the arpeggiator was off). After the post-delay period has elapsed, the 
arpeggiator either jumps to the beginning of the Pre-Delay period or to the 
beginning of the Duration period depending on the Recycle setting. 

If the arpeggiator is playing an extension when the Duration expires, the 
notes in the extension will continue to sound during the Post-Delay (and 
Pre-Delay if on). On the next pass through the Duration period, the 
extension continues where it left off. 

Post-Delay increases the number of possible variations in the beat and 
allows the recycle loop to be set to an exact measure of time. 



MR5TER RRPEGGIRTOR 
Post-Delay 



off 



64 E-MU Systems 



Arp/Beats Menu 
Master Arpeggiator Parameters 



Recycle 



Keyboard Thru 



Latch 



Keys 
Pressed 



I 



Notes Sound 
I h 



Arp Plays 



i Pre-Delay 



Notes Sound 

H 1 




Recycle enables the pattern or arpeggio to repeat. This parameter works 
together with the Duration and Pre/Post Delay parameters to allow the loop 
to be set to an exact measure of time. The "on/No-PreDelay" option 
bypasses the predelay period. With Recycle turned Off, the pattern or 
arpeggio stops at the end of the Post-Delay period. 



MRSTER RRPEGGIRTOR 

Recycle on/No-PreDly 



When enabled, Keyboard Thru merges the notes not arpeggiated with the 
notes being produced by the arpeggiator. This gives the effect of two parts 
playing at once. 



MRSTER RRPEGGIRTOR 
Keyboard Thru 



off 



With Latch mode On, any notes you play remain on until you press them 
again. Latched notes can also be halted by turning Latch off in this screen, 
or by turning off the Arpeggiator for the channel in the main screen. 



MRSTER RRPEGGIRTOR 
Latch 



on 



Vintage Keys Operation Manual 65 



Arp/Beats Menu 

Send MIDI System Exclusive Data 



Send MIDI 
System 
Exclusive Data 



s*> 



Send data as you would 
a regular sequence. Sending 
data in one huge chunk may 
clog the MIDI input buffer on 
Vintage Keys. 



Use the Key Range parameter to set the keyboard range for the arpeggiator. 
Notes inside the range will arpeggiate while notes outside the specified 
range will not arpeggiate. Use the Extensions parameters to exceed the 
upper boundary of the Key Range (see the information about Extensions 
beginning on page 62). 



MRSTER RRPEGGIRTOR 
Key Range 



C-2->G8 



Move the cursor under the first key and use the data entry control to define 
the lowest key to be arpeggiated. Move the cursor under the second key 
value and use the data entry control to define the highest key to be arpeg- 
giated. 



Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System 
Exclusive data to another Vintage Keys or to a computer/sequencer for 
backup. Using the cursor key and the data entry control, select the MIDI 
data you want to transmit. See Send MIDI System Exclusive Data in the 
Master chapter for additional details about recording SysEx. 

User Patterns 

Transmits all the User patterns. 

00° to 99° 

Transmits only the individual pattern you have selected. 



SEND MIDI SYSEX DRTR 
Rll User Rrp Patterns 



66 E-MU Systems 



Arp/Beats Menu 
Send MIDI System Exclusive Data 



Editing a User 
Arpeggiator Pattern 



Bank = User Patterns 
Bank 1 = Factory Patterns 
Bank 2 = Factory Patterns 



\ 



Before editing a Pattern, 
select Master Arpeggiator (M) in 
the main screen and set the 
Arpeggiator to the Pattern you 
are editing. This lets you hear 
the Pattern as you edit it. 



Pattern Step Number 



Key 



Vintage Keys lets you create and edit your own arpeggiator patterns. Using 
the Edit User Pattern menu, you can create up to 100 user patterns and each 
pattern can be up to 32 steps in length. 

When you edit a pattern, you are writing directly into memory — no Save 
command is required (however, you must exit the Arp module). This is 
different from the Edit menu where you must Save a preset before it will be 
overwritten. If you want to modify an existing pattern and keep the 
original, you must first COPY the pattern you want to edit to another 
location using the function in the Save/Copy menu (See page 191). Refer to 
the instructions below and the following parameter descriptions to create 
your own patterns. 



EDIT USER PRTTERN 
01 1 DRUMnBRSS 1 



► To Select the Pattern to Edit: 

1. From the Edit User Pattern screen shown above, move the cursor to the 
bottom line and select the pattern you want to edit. The Enter LED 
begins flashing. Press Enter to move back to the Home position. 

2. Select the next screen in the list, "User Pattern Edit". This is where you 
edit the currently selected pattern. 





PTRN 
501 


KEY 
+0 


VEL 

ply 


DUR 
1/8 


RPT 

2 

A 


I I I I I 



Pattern Step 
number 



Key offset Velocity Duration 



Repeat 



Move the cursor to the lower line of the display. For each step, you can 
select: key, velocity, duration, and number of repeats. 



You can set up to 32 steps for each arpeggiator pattern. This field selects 
which step you will be editing from 1 to 32. 



This parameter defines what happens during the current step. The Key 
parameter can do one of five different operations. Following is a description 
of each of the key functions and how to use them. 



Vintage Keys Operation Manual 67 



Arp/Beats Menu 

Send MIDI System Exclusive Data 



^^ IMPORTANT: The Gate 
function in the arpeggiator 
MUST be set to 1 00% when 
using the tie function, otherwise 
the tied note is retriggered 
instead of extended. 



Key Offset 

This parameter defines not the actual note of the arpeggiator playback, but 
instead specifies the amount of offset, in semitones, from the original note 
played. You can set a Key Offset from -48 to +48 for each step. For example, 
if you play a "C" on the keyboard with the Key Offset amount for the first 
step set to "+1," the first step in the pattern will be "C#." 



-48 



-36 



-24 



-12 



l 




+12 



Offset 



t 

Played 
Note 



+24 



+ Offset 



+36 



+48 



Tie 

This function extends the duration of notes beyond the values given in the 
duration field by "tying" notes together. You can tie together any number 
of consecutive steps. 



J^J J 



+2 




tie 




-5 



Step 1 Step 2 Step 3 



Rest 

Instead of playing a note, you can define the step as a Rest. The Duration 
parameter specifies the length of the rest. Rests can be tied together to form 
longer rests. 

Skip 

This command simply removes the step from the pattern. The Skip feature 
makes it easy to remove an unwanted step without rearranging the entire 
pattern. You'll be happy to know that the velocity, duration and repeat 
parameters are remembered if you decide to put the step back later. 

End 

This command signals the end of the pattern. Any steps programmed after 
the step containing the End command are ignored. 



68 E-MU Systems 



Arp/Beats Menu 
Send MIDI System Exclusive Data 



Velocity 



Each note in the pattern plays using either a preset velocity value (from 
1 through 127), or using the actual velocity of the played note (ply). 

Note: Velocity values will not have an effect on the sound unless velocity is 
programmed to do something in the preset. 



Duration 



This parameter sets the length of time for the current step, denned as a note 
value, based on the Master Tempo. The selectable note durations are 
described below. 



1/32 


32nd Note 


l/2t 


Half Note Triplet 


l/16t 


16th Note Triplet 


l/4d 


Dotted Quarter Note 


l/32d 


Dotted 32nd Note 


1/2 


Half Note 


1/16 


16th Note 


1/ld 


Dotted Whole Note 


l/8t 


8th Note Triplet 


1/lt 


Whole Note Triplet 


l/16d 


Dotted 16th Note 


l/2d 


Dotted Half Note 


1/8 


8th Note 


1/1 


Whole Note 


l/4t 


Quarter Note Triplet 


2/lt 


Double Whole Note 


l/8d 


Dotted Eighth Note 




Triplet 


1/4 


Quarter Note 


2/1 


Double Whole Note 



Repeat 



Each step can be played from 1 to 32 times. A repeat setting of "1" indicates 
the step will be played one time (not repeated one time or played twice). 



► To Edit a User Pattern: 

1. The first field in the Edit User Pattern field defines the pattern's step 
number. Start with the pattern Step 01. 

2. Define the Key Offset, Velocity, Duration and Repeat values. 

3. Repeat steps 1 and 2 until you have setup the desired number of steps 
in the pattern. 

4. Set the Key Offset to "End" on the last step in the pattern. 



Vintage Keys Operation Manual 69 



Arp/Beats Menu 
Multichannel Arpeggiating 



User Pattern Name 



Multichannel 
Arpeggiating 



The User Pattern Name page lets you enter a name for any User Arpeggiator 
Pattern. 




► To Name a User Pattern: 

1. From the Pattern Edit screen shown above, position the cursor under 
the PTRN field. 

2. Turn the data entry control clockwise. The following screen appears. 



USER PRTTERN NRME 
00° Mod Cycle 



3. Move the cursor to the bottom line and edit the Pattern name using 
the data entry control and Cursor keys. 

4. Move the cursor to the "Home" position (shown above) by pressing the 
Home/Enter button. 

5. Turn the data entry control counter-clockwise one click to return to 
the Pattern Edit screen. 

6. Turn the data entry control counterclockwise multiple clicks to jump 
back to the main Arpeggiator menu screen. 



Presets with the arpeggiator assigned will play when they receive note-on 
data from the keyboard or external MIDI source. 

Please refer to the instructions on page 26 to learn one way to perform 
using multiple arpeggiators. 

Tip: Synchronize the effect delay time to your arpeggiator patterns to create 
complex polyrhythms. See page 176 for details. 



70 E-MU Systems 



Controllers Menu 



The Controllers menu contains functions related to the keyboard, knobs or 
trigger buttons of Vintage Keys. For example, the Command Function 
Trigger Keys are programmed in this menu. All Controllers menu data is 
saved with the Multisetup. See page 41 for more information about Multi- 
setups. 

► To enable the Controllers menu: 

Press the Controllers button, lighting the LED. The Controllers Menu 
screen displays the menu page most recently selected since powering up 
Vintage Keys. The cursor appears below the first character of the screen 
heading on line one. 

► To select a new screen: 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter: 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected Mode/View screen: 

Press the Controllers button, turning off the LED. 



Vintage Keys Operation Manual 71 



Controllers Menu 
Keyboard Transpose 



Realtime 

Control 

Functions 

Keyboard Transpose 



Keyboard Channel 



>0 in Quick Edit mode the 
front panel knobs only control 
the "Basic Channel". 



Local Control On /Off 



This section describes how set up the Realtime Controllers on Vintage Keys. 
Realtime Controllers are performance controls such as the controller knobs, 
velocity & pressure sensitive keyboard, and the trigger buttons. 



This option allows you to offset the transposition of the keyboard in 
semitone intervals. This is allows you to easily play in different keys with 
the keyboard and lets you access different groups of instruments in a drum 
map. The transpose range is +36 semitones. 



KEYBORRD TRRN5P05E 
+00 semitones 



This option allows you to select which channel is controlled by the 
Keyboard, Knobs as well as the Pitch & Mod Wheels. You can select any of 
the 16 channels or "Basic". If the "Basic" channel is selected, the keyboard 
and knobs always control the preset showing in the Main screen. 



KEYBORRD CHRNNEL 
Channel: Basic 



Local Control is used to disconnect the keyboard and controllers (knobs, 
wheels, footswitches) from the sound generating section. Even though 
disconnected from the internal synthesizer, the keyboard and controllers 
are still transmitted over MIDI. Local Control is normally turned Off when 
recording into an external MIDI sequencer (set sequencer to Echo Thru). 
Played data and recorded data are merged in the computer sequencer and 
then sent back to the module. This feature can also be used if you want to 
control another MIDI sound generator from the keyboard and knobs 
without playing internal sounds. 



LOCRL CONTROL ON/OFF 
on 



72 E-MU Systems 



Controllers Menu 
Keyboard Velocity Curve 



Keyboard Velocity 
Curve 



^ 



The Keyboard Velocity 
Curve diagrams are located on 
page 224. 



KYBD Data 




Turning Local Control Off allows you to use the Echo Thru feature on your sequencer 
while sequencing. In conjunction with Echo Thru, Local Control Off allows you to record 
into the external sequencer and hear the correct sounds whether you are recording or 
playing back the sequence. 



The velocity response of the keyboard can be adjusted using any of 17 
curves in order to customize the dynamic feel of the keyboard to your 
individual playing style. This curve adjusts the output of the Vintage Keys 
keyboard before it is sent to the MIDI output port and to the Master 
Velocity Curve described on page 85. 



KEYBORRD VELOCITY CURVE 
soft #2 



MIDI OUT 



MIDI IN 




Keyboard 
Velocity Curve 



Master 
Velocity Curve 



Internal 
Synthesizer 



The Keyboard Velocity Curve modifies the velocity data from the keyboard keys. This data 
is sent to the MIDI output port and through the Master Velocity Curve before reaching 
the Synthesizer. Incoming MIDI data is filtered through the Master Velocity Curve only. 



Vintage Keys Operation Manual 73 



Controllers Menu 
Channel Aftertouch On/Off 



Channel Aftertouch 
On/Off 



Footswitch Function 



The keyboard generates channel aftertouch messages. Aftertouch is 
generated when you continue to press the keys after the note has been 
played. Aftertouch can be a very useful controller for adding a bit of vibrato 
or creating a volume swell. Aftertouch is routed to the Pressure source in 
the Patchcord screen. This control allows you to turn aftertouch on or off 
without having to modify each preset. 




The footswitch jack on Vintage Keys's rear panel can be programmed to 
perform a variety of functions. The footswitch jack is designed to accept a 
momentary footswitches which shorts the tip and ground. Vintage Keys 
senses either normally-on or normally-off switches on power-up. 

The following functions can be controlled via the footswitches. 



FOOTSWITCH JRCK FUNCTION 
MIDI FtSuu 



• MIDI Footswitch 



• Tap Tempo 

• Channel + 

• Channel - 

• Preset + 

• Preset - 



In this mode the footswitch is routed to the 
"FootSwl" Patchcord source in the Preset Edit, 
Cords menu. (See pages 159 and 166.) It is also trans- 
mitted out on the Footswitch Controller number as 
programmed in the Controllers menu. (See page 80.) 

Pressing the footswitch allows you to tap in the 
current tempo with your foot. 

Pressing the footswitch increments the MIDI 
channel number. 

Pressing the footswitch decrements the MIDI 
channel number. 

Pressing the footswitch increments the current 
preset number. 

Pressing the footswitch decrements the current 
preset number. 



74 E-MU Systems 



Controllers Menu 
Foot Pedal Function 



Foot Pedal Function 



Pedal Wiring 




• Ring 



Ground 



Trigger Buttons 
Function 



The foot pedal jack on Vintage Keys's rear panel can be programmed to 
perform a variety of functions. The foot pedal input can sense either 0-5 
volts on the ring of a stereo jack or a foot pedal with the potentiometer 
wired as shown at left. 

The following functions can be controlled via the foot pedal jack. 



FOOT PEDRL FUNCTION 
FootCtrl 



Foot Controller 



Channel Volume 



In this mode the Foot Pedal is routed to the 
"Pedal" Patchcord source in the Preset Edit, Cords 
menu. (See pages 159 and 166.) It is also transmitted 
out on MIDI Continuous Controller #4 on the basic 
MIDI channel. 

The Foot Pedal controls the volume of the current 
channel. (The MIDI channel currently showing in 
the main screen.) Channel volume is pre-effect — 
reverb or echoes will continue to sound even when 
the pedal is off. 

The Foot Pedal controls the overall volume of the 
Vintage Keys. This duplicates the function of the 
Master Volume knob on the front panel. Master vol- 
ume is post-effect — effects will be cut off when the 
pedal is off. 



This option selects the function of the front panel "Triggers" button. The 
"Triggers" button can be used either to Play Beats Parts or to Play Note 
Events. 



Master Volume 



Play Beats Parts 



Play Note Events 



In this mode and when the Triggers button is 
selected, the sixteen command buttons turn Beats 
parts on and off. 

In this mode and when the Triggers button is 
selected, the sixteen command buttons work like 
keyboard notes. Each button can be assigned to any 
MIDI note, on any MIDI Channel (01-16), with any 
velocity (0-127), and can be set to be latched or 
momentarily on. 



TRIGGER BUTTONS FUNCTION 
Play Note Events 



Vintage Keys Operation Manual 75 



Controllers Menu 
Trigger Buttons 



Trigger Buttons 



X 



By assigning Trigger 
Buttons to the keyboard Beats 
Layout Keys (page 5 1), you can 
trigger Beats and MIDI notes 
using the Trigger buttons. 



X 



Latched buttons are 
especially useful for triggering 
arpeggiated presets. 



This screen allows you to program the 16 trigger buttons to play note 
events. Note: This screen is not available when the "Trigger Buttons 
Function" (see previous page) is set to "Play Beats Parts". 

Set the previous screen to "Play Note Events". Select Triggers mode by 
pressing the mode select button so that the "Triggers" LED is illuminated. 
Now the 16 buttons work like keyboard notes. Each of the 16 buttons can 
be assigned to any MIDI note, on any MIDI Channel (01-16), with any 
velocity (0-127), and can be set to be latched or momentarily on. Latched 
notes will hold until the button is pressed again. Latched notes will be 
indicated by the LEDs. 

Simply move the cursor from the "TRIGGERS" field and play a note to enter 
the MIDI key and velocity. Pressing a Trigger Button anytime while in this 
screen automatically selects that trigger button for programming! 



Trigger Button Select 



Latch on/off 



T1 TRIGGERS Latch:off 
Key: C3 Ch: 01 Vel: 127 



*v 



MIDI Key 



MIDI Channel 



Velocity 



► To Setup the Trigger Buttons: 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the "TRIGGERS" screen. 

3. Use the left/right cursor controls to select the fields shown above. 

4. Select the MIDI key, the MIDI channel, the Velocity and Latch on/off 
for each of the 16 trigger buttons. 

5. Save the Multisetup if you want to save these settings. See page 42. 

► To Play the Trigger Buttons: 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the "TRIGGERS BUTTONS 
FUNCTION" screen. 

3. Move the cursor to the lower line and select "Play Note Events". 

4. Press the Command Functions "Triggers" button so that its LED 
illuminates. 

5. Play the Trigger buttons. 



76 E-MU Systems 



Controllers Menu 
Preset Select Buttons 



Preset Select Buttons 



>0 The Basic MIDI channel 
is the channel currently showing 
in the main screen. 



The 16 command buttons can also be used for preset selection. Each button 
can be programmed to select any preset on the Basic MIDI channel. For 
your next song, selecting another Multisetup (page 41) selects another 
group of sixteen presets. 

In Preset Select mode, whenever the current preset on the basic channel 
matches any of the 16 "favorites" assigned to the Preset Select buttons, its 
LED will illuminate. 

Select Preset Select mode from the Command Functions. Now the 16 
buttons are programmable preset selection buttons. 



Trigger Button Select 



Preset Location 



T1 PRESET - SELECT User 
006° bas: Fatty 

I \ 



Preset Number Category Preset Name 

When a preset is selected using the Preset Select buttons, the cursor is 
automatically located underneath the Preset Name field. This feature makes 
it easy to select other presets of the same type. 

► Quick Method of Programming the Preset Select Buttons: 

1 . Select the preset you want from the Main screen. 

2. Press and hold the Preset Select button, then press one of the sixteen 
Trigger buttons. 

3. The preset will be stored in the trigger button you selected. 

► To Program the Preset Select Buttons from the Menu: 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the "PRESET - SELECT" screen. 

3. Use the left/right cursor controls to select the fields shown above. 

4. Select the desired preset for each of the 16 trigger buttons. 

5. Save the Multisetup if you want to save these settings. See page 42. 

► To Use the Preset Select Buttons: 

1. From the main preset selection screen, press the Preset Select button. 
Its LED will illuminate. 

2. Press any of the 16 buttons to select a new preset. 



Vintage Keys Operation Manual 77 



Controllers Menu 
Preset Select Send Buttons 



Preset Select Send 
Buttons 



Suppose you wanted to send another MIDI program change message to an 
external synthesizer. The 16 command buttons can also send external MIDI 
program changes on the Basic MIDI channel. Each button can be 
programmed to select any preset from 0-127, in any bank. 

Select Preset Select mode from the Command Functions. Now the 16 
buttons are programmable preset selection buttons. 

Trigger Button Select 



T1 PRESET - SELECT SEND 
MSB:015 LSB:003 PROG: 127 



^ 



Bank MSB 



Bank LSB 



Program Change 
Number 



3. 
4. 



► To Program the Program Change Send Buttons: 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the "PRESET - SELECT SEND" 
screen. 

Use the left/right cursor controls to select the fields shown above. 

Select the desired program change and bank for each of the 16 trigger 
buttons. (If you don't want to send an external program change, set the 
fields to "off".) 

5. Save the Multisetup if you want to save these settings. See page 42. 

► To Send an External Program Change: 

1. From the main preset selection screen, press the Preset Select button. 
Its LED will illuminate. 

2. Press one of the 16 buttons to send the program change. 



78 E-MU Systems 



Controllers Menu 
Knob Preset Quick-Edit 



Knob Preset 
Quick-Edit 



Real-time Controller 
Assignment 



\ 



Tip: Vintage Keys factory 
presets have certain synth 
parameters assigned to 
controllers A-P and so these are 
"Global" controller assignments. 

For example, assigning a MIDI 
controller to "A" in this screen 
would let you control filter Fc for 
all the factory presets. See "Basic 
Preset Knob Functions " on 
page 209. 



"Quick-Edit" changes the initial controller setting in the preset whenever 
you move a Control Knob. This parameter selects whether or not the front 
panel Controller Knobs are used to Quick-Edit the currently selected preset. 
See "Preset Edit Button" on page 32 in the Operations chapter for more 
details. 



KNOBS PRESET QUICK-EDIT 
disabled 



Use these four pages to assign sixteen real-time control sources. Each MIDI 
Controller is assigned a letter (A-P). The front panel controller knobs are 
assigned to letters A-L. Letters M-P can be used to assign four more external 
MIDI controllers. These screens let you select which MIDI real-time 
controllers numbers will be received (from 1 to 31 and from 64 to 95) 
and which controller numbers will be transmitted over MIDI if the 
front panel controls are turned. The Patchcord routing and amount in 
the Preset Edit menu determine what effect the controller has on each 
preset. Real-time controllers are shown in the Patchcord menu as MIDI A 
through MIDI P. 

The Real-time Controller assignment also specifies which controller 
numbers are transmitted when the "Knobs Output MIDI" is enabled (see 
"Knobs Output MIDI" on page 94). 



Front Panel 
Knobs & 
MIDI In 



RERLTIME CONTROLLER # 
R: 74 B: 71 C: 25 D: 26 



RERLTIME CONTROLLER # 
E: 73 F: 75 G: 85 H: 72 



RERLTIME CONTROLLER # 
I: 78 J: 77 K: 27 L: 28 



MIDI In- 



RERLTIME CONTROLLER # 
M: 01 N: 03 0: 82 P: 83 



Vintage Keys Operation Manual 79 



Controllers Menu 
MIDI Foots 



MIDI Footswitch 
Assign 



Calibrate Controllers 



% 



The Controllers should 
ALWAYS be calibrated after you 
reinitialize user data. (And you 
should always reinitialize user 
data after updating the 
operating system.) 



Note: Controllers 7 and 10 are already assigned to Volume and Pan for each 
MIDI channel. Controllers 91 & 93 are the standard controller numbers for 
reverb and chorus send amounts, but are not assigned. 

Following are a few of the standardized MIDI Controller numbers as 
denned by the MIDI manufacturers association. The controllers shown in 
Bold are automatically routed to the destination (volume & pan) or have 
their own Patchcord source. Others, such as Portamento Time, can be 
routed using a Patchcord to have the desired effect. 



1 - Modulation Wheel 

2 - Breath Controller 

4 - Foot Pedal 

5 - Portamento Time 

6 - Data Entry 



7 - Volume 

8 - Balance 

9 - Undefined 

10 - Pan 

11 - Expression 



Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI 
footswitch numbers. Footswitches numbers are from 64-79. Destinations 
for the footswitch controllers are programmed in the Patchcord section of 
the Preset Edit menu. The rear panel footswitch 1 is connected to 
footswitch controller 1 in this screen. Pressing the footswitch transmits on 
the MIDI controller number programmed here. Footswitches 2 & 3 route 
incoming MIDI footswitch data to the Patchcord section of Vintage Keys. 



FOOTSWITCH CONTROLLER # 
1: 64 2: 65 3: 66 



^ 



Rear panel footswitch input 



This screen allows you to calibrate the Pitch Wheel, Modulation Wheel, 
Aftertouch, and Foot Pedal controller. The controls should be recalibrated 
periodically in order to compensate for normal changes in the controls 
themselves. If a control doesn't seem to be responding properly, it may 
simply need to be recalibrated. 



CRLIBRRTE CONTROLLERS 
Start Mod Wheel 



80 E-MU Systems 



Controllers Menu 
Tempo Controller 



Tempo Controller 



► To Calibrate the Controllers: 

1 . Press the Global button. Its LED will illuminate. 

2. Turn the data entry control to select the "CALIBRATE CONTROLLERS' 
screen shown below. 



CRLIBRRTE CONTROLLERS 
Start Mod Wheel 



Move the cursor to the lower line of the display and rotate the Data 
Entry Control to select the control to be calibrated. The choices are: 



Mod Wheel 



• Pitch Wheel • Foot Pedal • Aftertouch 



5. 



Press Enter to select a control, then follow the instructions given in the 
display. You will be asked to mover the control through its entire range 
(minimum through maximum), then press Enter. 

In the case of the Pitch Wheel, you first move the wheel through its 
min-max range and leave the wheel resting in its center position. Then 
press Enter. 



This function allows a MIDI controller to change the Base Tempo of the 
Master Clock. The Master Clock is used by the arpeggiators, clock divisor 
Patchcords, tempo-based envelopes and synced LFOs. (See "Clock 
Modulation" on page 106.) You can assign any controller number from 0- 
31, mono key pressure, or the Pitch Wheel to change the Global Tempo. 

A different controller can be used to change the tempo up or down. The 
Pitch Wheel can be assigned to both the up and down parameters to vary 
the tempo up and down from a single controller. If any other controller is 
assigned to both the up and down parameters, Vintage Keys redefines the 
center of the controller's range as zero (so it acts like a pitch wheel). 

MIDI Controller values are added to the Base Tempo with a range of +64. 
When the controller is set to "off" the tempo returns to its original setting. 
Controllers are only recognized on the selected MIDI channel, unless 
Vintage Keys is in Omni mode, in which case all channels are accepted. 
This control has no effect when using an external clock. 



TEMPO CONTROLLER* 
Up: 03 Down: 09 



CHRN 
16 



Vintage Keys Operation Manual 81 



Controllers Menu 
Base Tempo 



Base Tempo 



s*> 



The Arp/Beats LED 
flashes in time with the Base 
Tempo. 



X 



You can also tap tempo 
using a footswitch. See page 74. 



Vintage Keys contains an internal Master Clock which runs the arpeg- 
giators, synchronizes the LFOs when in tempo-based mode, controls the 
times of tempo-based envelopes, and can be used as a modulation source in 
the Patchcords section. 

You'll notice that there are two tempo values shown in the display 

• Base Tempo - This is the base tempo setting before being modified by 
the Tempo Controller (if engaged). See "Tempo Controller" on page 81. 

• (Current Tempo) - This is the actual tempo! The current tempo is 
equal to the base tempo modulated by the MIDI controller specified in 
the Tempo Controller screen. If no MIDI Tempo controller message has 
been received since the last Base Tempo change, the Current Tempo will 
be equal to the Base Tempo. 

► To Change the Base Tempo: 

1 . Move the cursor to the lower line of the display. 

2. Adjust the Base Tempo using the data entry control. 



BRSE TEMPO TRP->enter 

120 bpm (current: 182) 



3. To Tap Tempo - Tap the Enter button at least three times. Keep tapping 
to continuously update the tempo on each tap. The tap tempo range is 
25-300 bpm. The Base Tempo values range from 1 through 300 beats 
per minute (BPM). 

► To Use an External MIDI Clock: 

1 . Move the cursor to the lower line of the display. 

2. Turn the data entry control all the way counter-clockwise and select 
"ext" to use an external MIDI clock source. 



82 E-MU Systems 



Global Menu 



<5>& 

Warning: Global Menu 
changes are automatically saved 
when you exit the menu. If the 
power is turned off before you 
exit the menu any changes you 
have made will be lost. 



The Global menu contains functions that affect the overall operation of 
Vintage Keys. For example, changing the Master Tune parameter changes 
the tuning of all the presets, not just the one currently displayed. 

► To enable the Global menu: 

Press the Global button, lighting the LED. The Global Menu screen displays 
the menu page most recently selected since powering up Vintage Keys. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen: 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter: 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected screen: 

Press the Global button, turning off the LED. 



Vintage Keys Operation Manual 83 



Global Menu 
Defining Global Parameters 



Defining 

Global 

Parameters 

Master Transpose/ 
Tune 



Master Bend Range 



Global setup parameters affect overall performance, range, and global 
effects. This section describes the Global parameters and how to define 
them. 



The Transpose parameter transposes the key of all presets, in semitone 
intervals. The transpose range is + 24 semitones. 

Master Tune adjusts the fine tuning of all presets so that you can tune 
Vintage Keys to other instruments. The master tuning range is + 1 semitone 
in l/64th semitone increments (1.56 cents). A master tune setting of "+00" 
indicates that Vintage Keys is perfectly tuned to concert pitch (A=440 Hz). 



MRSTER TRRN5P05E 
+00 semitones 



TUNE 
+00 



The Master Bend Range parameter sets the range of the pitch wheel. This 
affects only presets that have their individual Pitch Bend range (denned in 
the Preset Edit menu) set to Master. See page 160. The maximum pitch bend 
range is +12 semitones or one octave in each direction. 



MRSTER BEND RRNGE 
+/- 7 semitones 



84 E-MU Systems 



Global Menu 
Defining Global Parameters 



Master Velocity 
Curve 



>0 The Master Velocity curve 
is normally set to "Linear" and 
the Keyboard Velocity Curve is 
used to adjust the keyboard feel. 

The two curves can also be 
combined if you wish. 



^ 



For a complete list of 
all available velocity curves, 
see "Master Velocity Curves" 
on page 225 of the Appendix. 



Incoming velocity data or internal keyboard velocity can be altered by one 
of thirteen velocity curves. These curves are designed to adapt Vintage Keys 
to a external MIDI controller. You can select one of thirteen global velocity 
curves or to leave the data unaltered (linear). To adjust Keyboard velocity 
see "Keyboard Velocity Curve" on page 73. 



v 

CC 20 



MR5TER VELOCITY CURVE 
13 



MIDI OUT 



© 




MIDI IN 



© 



The Master Velocity 
Curve filters MIDI In as 
well as data from the 
Keyboard Velocity Curve. 





Keyboard 
Velocity Curve 



Master 
Velocity Curve 



Internal 
Synthesizer 





20 40 60 80 100 120 

Played Velocity 



20 40 60 80 100 120 

Played Velocity 





20 40 60 80 100 120 

Played Velocity 



20 40 60 80 100 120 

Played Velocity 



Vintage Keys Operation Manual 85 



Global Menu 
Defining Global Parameters 



Mix Output 



>0 Send Routings 

Send 1 - Main Outputs 
Send 2 - Subout 1 or Main Outs 
Send 3 - Main Outputs 
Send 4 - Main Outputs 



The Mix Output parameter allows you to override the routing assignments 
made in each preset and instead assign the outputs according to MIDI 
channel. For each of the 16 MIDI channels, you can select Send 1-4, or 
Preset. When Preset is selected, the output assignment denned in the Preset 
Edit menu is used. 



MIX OUTPUT 

channel 16: Send 1->main 



t 



Indicates that the dry signal is 
routed to the Main output jacks. 

The Output Routing field (pointed to by the arrow) reflects the true 

routing of Send 2 or Send 3 to either: 

1) the effects processor input or... 2) the rear panel submix jacks. 

Since the Sub 1 output is NOT being used, the signal is routed through the 
effects processors, then on to the main outputs. If a plug were inserted into 
one of the Sub 1 jacks the destination field would read "Subl" for Send 2 
and the dry signal would be routed directly to the Sub 1 outputs on the 
back panel. 



MIX OUTPUT 
channel 15: use preset 



The Sends function as effect processor inputs (effect sends). Send 2 is also 
used to route sounds to the Sub 1 outputs on the back panel. When a plug 
is inserted into the associated Submix jack on the back panel, the Dry 
portion of the Send is disconnected from the effects processor and the 
signal is routed directly to the output jack. The Arrow points to the actual 
output routing. If you don't want the wet portion of the signal in the main 
mix, turn down the Send Level. The entire Send is disconnected from the Effects 
Processors even if only one plug is inserted into the Submix jack. 

The four Effect Sends allow you to get the most out of the two effect 
processors. For example, with Effect B set to an echo algorithm, you could 
route one MIDI channel to Send 3 and set the effect amount to 80%. 
Another MIDI channel could be routed to Send 4 with an effect amount of 
only 5%. This is almost like having two different effects! 

The Mix Output function is also useful when sequencing since it lets you 
route specific MIDI channels to specific Sub outputs (on the back panel) 
where there they can be processed with EQ or other outboard effects. 



86 E-MU Systems 



Global Menu 
Defining Global Parameters 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



MIDI CHANNEL 
MIDI Channel 1 - 

MIDI Channel 2 

MIDI Channel 3 



MIDI Channel 16 




s 

E 

N 
D 

_3_ 

i 

S 
E 

N 
D 
4 


J 





Send 2 can be routed to the effects processors or to rear panel submix jacks. When a plug 
is inserted into a Submix jack, the dry portion of the Send is disconnected from the 
effects processor and is routed directly to the Submix output jacks. 



Vintage Keys Operation Manual 87 



Global Menu 
Master Effects 



Master Effects 



Effects Mode 



Effects Multi Mode 
Control 



The digital effect processors can be programmed as part of the preset (using 
the Preset Edit menu) so that effects will change along with the preset. 
However, there are only two effect processors, and so you cannot have a 
different effect on each preset when in Multi mode. 

The Master Effects settings assign the effect processors "globally" for all 
presets to provide a way to use the effects in Multi mode. Detailed infor- 
mation is presented in the Effects chapter (see Effects on page 173). 



The FX Mode page enables or bypasses the effects. When the FX Mode is set 
to "bypass," the effects are turned off on a global scale. This includes Effects 
programmed in the preset. 



FX MODE 
enabled 



The routing scheme for the two stereo effects processors provides a lot of 
versatility. When in multi mode, you can "use master settings" which 
applies the Master effects settings to all 16 MIDI channels. 



FX MULTIMODE CONTROL 
use master settings 



If you want more control, you can use the "channel" setting which applies 
the effects settings of the preset on a specified channel to all the other 
channels. Changing the preset on the specified channel changes the effect. 



FX MULTIMODE CONTROL 
preset on channel 1 



If you are in Omni or Poly modes this parameter is disabled and the 
message in parentheses explains that Vintage Keys is currently in Omni 
mode. 



FX MULTIMODE CONTROL 
(using Omni mode) 



88 E-MU Systems 



Global Menu 
Master Effects 



Master FXA 
Algorithm 



This function selects the type of effect used for the "A" effect. The following 
effect types are available. 



MR5TER FXR RLGORITHM 
Room 1 



A Effect Types 



1. Room 1 


23. 


BBall Court 


2. Room 2 


24. 


Gymnasium 


3. Room 3 


25. 


Cavern 


4. Hall 1 


26. 


Concert 9 


5. Hall 2 


27. 


Concert 10 Pan 


6. Plate 


28. 


Reverse Gate 


7. Delay 


29. 


Gate 2 


8. Panning Delay 


30. 


Gate Pan 


9. Multitap 1 


31. 


Concert 11 


10. Multitap Pan 


32. 


Medium Concert 


11. 3 Tap 


33. 


Large Concert 


12. 3 Tap Pan 


34. 


Large Concert Pan 


13. Soft Room 


35. 


Canyon 


14. Warm Room 


36. 


DelayVerb 1 


15. Perfect Room 


37. 


DelayVerb 2 


1 6. Tiled Room 


38. 


DelayVerb 3 


17. Hard Plate 


39. 


DelayVerb 4 Pan 


18. Warm Hall 


40. 


DelayVerb 5 Pan 


19. Spacious Hall 


41. 


DelayVerb 6 


20. Bright Hall 


42. 


DelayVerb 7 


21. Bright Hall Pan 


43. 


DelayVerb 8 


22. Bright Plate 


44. 


DelayVerb 9 



Vintage Keys Operation Manual 89 



Global Menu 
Master Effects 



FXA Parameters: 
Decay /HF Damping 
FxB -> FxA 



FXA Send Amounts 



Master FXB 
Algorithm 



This page lets you define the parameters of the selected Effects algorithm. 
Use this page to setup the effect decay, high frequency damping amount 
and to route "B" effects through the "A" effects. See "Effect Parameters" on 
page 175 for more details. 



FXR DECRY 
040 



HFDRMP FxB>FxR 
096 001 



These parameters set the effects amounts for each of the four stereo effects 
busses. See "Master Effects" on page 178 for detailed information. 



FXR SEND RM0UNT5 1:100% 

2: 50% 3: 10% M: 0% 



This parameter selects the type of effect used for the "B" effect. The 
following effect types are available. 



MR5TER FXB ALGORITHM 
Chorus 1 



90 E-MU Systems 



Global Menu 
Master Effects 



FXB Parameters: 
Feed back/ LFO Rate 
Delay Time 



FXB Send Amounts 



B Effect Types 



1. Chorus 1 


17. 


Ensemble 


2. Chorus 2 


18. 


Delay 


3. Chorus 3 


19. 


Delay Stereo 


4. Chorus 4 


20. 


Delay Stereo 2 


5. Chorus 5 


21. 


Panning Delay 


6. Doubling 


22. 


Delay Chorus 


7. Slapback 


23. 


Pan Delay Chorus 1 


8. Flange 1 


24. 


Pan Delay Chorus 2 


9. Flange 2 


25. 


Dual Tap 1/3 


10. Flange 3 


26. 


Dual Tap 1/4 


11. Flange 4 


27. 


Vibrato 


12. Flange 5 


28. 


Distortion 1 


13. Flange 6 


29. 


Distortion 2 


14. Flange 7 


30. 


Distorted Flange 


15. Big Chorus 


31. 


Distorted Chorus 


16. Symphonic 


32. 


Distorted Double 



The FXB parameters setup the characteristics of the effect. Use this page to 
define the feedback amount, the LFO rate and delay amount for the 
selected type "B" effect. See "Effect Parameters" on page 175 for details. 



FXB FEEDBK 
000 



LFORRTE DELRY 
003 



These parameters set the effects amounts for each of the four stereo effects 
busses. See the Effects chapter for detailed information. 



FXB SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



Vintage Keys Operation Manual 91 



Global Menu 
Miscellaneous Parameters 



Miscellaneous 
Parameters 

Edit All Layers Enable 



User Key Tuning 



\ 



The user key tuning can 
be used to tune individual 
percussion instruments. 



Screen Viewing 
Angle 



This function allows you to turn the Edit All Layers feature on or off. "Edit 
All Layers" is an Edit menu feature which allows you to select all layers (the 
letter "A" appears in the layer field) in order to edit all four layers simulta- 
neously. Because this feature can be confusing to the beginning 
programmer, it can be disabled here in the Global menu. 



EDIT RLL LRYER5 
enabled 



User Key Tuning lets you create and modify 12 user definable tuning tables. 
The initial frequency of every key can be individually tuned, facilitating the 
creation of alternate or microtonal scales. 

Using the cursor keys and the data entry control, select the user table 
number, the key name, the coarse tuning and the fine tuning. The key 
name is variable from C-2 to G8. Coarse Tuning is variable from to 127 
semitones. The fine tuning is variable from 00 to 63 in increments of 1/64 
of a semitone (approx. 1.56 cents). For each preset, the specific tuning table 
is selected in the Preset Edit menu. See page 168. 



USER KEY TUNING Table: 1 

Key: CI Crs: 036 Fine: 00 



This function changes the viewing angle of the display so that you can read 
it easily from either above or below the unit. The angle is adjustable from 
+7 to -8. Positive values will make the display easier to read when viewed 
from above. Negative values make the display easier to read from below. 



VIEWING RNGLE 
+0 



92 E-MU Systems 



MIDI Menu 



&6 

Warning: MIDI Menu 
changes are automatically saved 
when you exit the menu. If the 
power is turned off before you 
exit the menu any changes you 
have made will be lost. 



Most of the parameters in Vintage Keys that relate to MIDI are contained 
within this menu. You can merge MIDI data, change the continuous 
controller assignments, turn program changes off or on, and lots more. 

MIDI menu settings are saved with the current Multimap. 

► To enable the MIDI menu: 

Press the MIDI button, lighting the LED. The MIDI Menu screen displays 
the menu page most recently selected since powering up Vintage Keys. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen: 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter: 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected Mode/View screen: 

Press the MIDI button, turning off the LED. 



Vintage Keys Operation Manual 93 



MIDI Menu 
Keyboard Outputs MIDI 



Keyboard Outputs 
MIDI 



Knobs Output MIDI 



Transmit MIDI Clock 



MIDI Enable 



This option allows you select whether or not the keyboard, pitch/mod 
wheel and footswitch data is transmitted on the MIDI output port. When 
this option is set to: "don't transmit", the keyboard, pitch/mod wheels, and 
footswitch only control the "current" preset. (The current preset is the one 
currently showing in the Main screen). The footswitch is transmitted on the 
MIDI CC number defined for Footswitch 1 in the Controllers menu. 



KEYBORRD OUTPUTS MIDI 
transmit 



This function allows you to select whether or not knob data is transmitted. 
The knobs transmit on the controller numbers denned by the Real-time 
Controller Assign parameter (See page 79). 



KNOBS OUTPUT MIDI 
don't transmit 



This option enables or disables the transmission of MIDI clock from the 
MIDI out port. When Vintage Keys is running on its own internal clock 
(page 82) it transmits 24 MIDI clocks per quarter note. When Vintage Keys 
is slaved to an external MIDI clock, it mirrors the incoming clock data. 




MIDI Enable lets you turn each MIDI channel on and off independently 
when in Multi mode. This feature is helpful when you have other devices 
connected to the same MIDI line and do not want the Vintage Keys unit to 
respond to the MIDI channels reserved for the other devices. 



MIDI ENRBLE 
channel 01: On 



94 E-MU Systems 



MIDI Menu 
Receive Program Change 



Receive Program 
Change 



MIDI Program 
Change -> Preset 



% 



The Program->Preset 
Change only works for program 
changes received in Bank 0. 



Because the MIDI Enable function only makes sense if you are in Multi 
mode, Vintage Keys disables this feature when in Omni or Poly mode. 



In Multi 
Mode 



In Omni 
Mode 



MIDI ENRBLE 
channel 16: On 



MIDI ENRBLE 
(using Omni mode) 



Use this function to instruct Vintage Keys to utilize or ignore incoming 
MIDI preset changes or Bank Select commands for each channel. Use the 
cursor buttons to select the channel number field, then use the data entry 
control to select a channel number. Use the cursor button again to select 
the On/Off field and the data entry control to change the value. 



RECEIVE PROGRRM CHRNGE 
channel 01 : on 



You can also remap incoming MIDI program changes to a different 
numbered preset. This is a handy feature when your master keyboard 
cannot send a bank change or you want to reorder preset numbers. Any 
preset can be mapped to any incoming MIDI program change number. 

For example, you could set up the Program -> Preset map to call up preset 
#12 whenever Vintage Keys receives MIDI program change #26. 

The four fields shown below are editable. 



MIDI PROG CHNG -> PRESET 
000 User 000 



o 



r"rt 



Incoming Program ROM Bank Program No. Bank No. 

Change in Bank 



Vintage Keys Operation Manual 95 



MIDI Menu 
MIDI SysEx ID 



V 



Programs and presets are 
the same thing. "Preset" is the 
E-MU term for MIDI Program. 



MIDI SysEx ID 



&6 

^^ WARNING: When 
transferring SysEx data from one 
Vintage Keys to another, the ID 
numbers of both units must be 
the same. 






Selected 
Program 








1 


2 


3 


4 


5 


6 


7 


8 


9 




00° 


01° 


02° 


03° 


04° 


05° 


06° 


07° 


08° 


09° 


10 


44 


91° 


50' 


01° 


15° 


88° 


99 


78° 


32 


88° 


20 


34 


73° 


106° 


55° 


43 Z 


75° 


12° 


120° 


121° 


ioo 2 


30 


30° 


31° 


32° 


33° 


34° 


35° 


36° 


37° 


38° 


39° 


40 


40° 


41° 


42° 


43° 


44° 


45° 


46° 


47° 


48° 


49° 


50 


50° 


51° 


52° 


53° 


54° 


55° 


56° 


57° 


58° 


59° 


60 


60° 


61° 


62° 


63° 


64° 


65° 


66° 


67° 


68° 


69° 


70 


70° 


71° 


72° 


73° 


74° 


75° 


76° 


77° 


78° 


79° 


80 


80° 


81° 


82° 


83° 


84° 


85° 


86° 


87° 


88° 


89° 


90 


90° 


91° 


92° 


93° 


94° 


95° 


96° 


97° 


98° 


99° 


100 


100° 


101° 


102 


103 


104 


105° 


106° 


107° 


108° 


109° 


110 


110° 


111° 


112 


113 


114 


115° 


116° 


117° 


118° 


119 


120 


120° 


121° 


122° 


123° 


124° 


125° 


126° 


127 







I HI 
1 L_ 



Mapped 
Program 



In this chart, program changes 10-29 have been remapped to new preset numbers. All 
other presets are selected normally. 



This page defines the MIDI system exclusive (SysEx) device ID number. The 
SysEx ID lets an external programming unit to distinguish between 
multiple Vintage Keys units connected to the same preset editor. In this 
case each unit must have a unique SysEx ID number. 



MIDI SYSEX ID 
000 



96 E-MU Systems 



MIDI Menu 
MIDI SysEx Packet Delay 



MIDI SysEx Packet 
Delay 



Send MIDI System 
Exclusive Data 



&6 

^^ WARNING: When 
transferring SysEx data from one 
Vintage Keys to another, the ID 
numbers of both units must 
match. 



The MIDI SysEx Packet Delay command lets you specify the amount of 
delay between MIDI SysEx packets going out of Vintage Keys so that your 
computer sequencer can record this large chunk of data over a longer 
period of time. On playback from the sequencer, the SysEx data will be fed 
more slowly into Vintage Keys so that the its input buffer does not 
overflow, causing an error. Many sequencers allow you to "Time Stamp" 
SysEx data as it is recorded. This is the preferred mode for recording SysEx 
data. 

The packet delay range is from through 8000 milliseconds. A delay value 
of zero allows full speed MIDI transfer. If you are experiencing data trans- 
mission errors, try increasing the delay value until the problem disappears. 



MIDI SYSEX PRCKET DELRY 
300 milliseconds 



This command transmits MIDI System Exclusive (SysEx) data to the MIDI 
Out port of Vintage Keys. The MIDI data can be sent to a computer, 
sequencer or to another Vintage Keys. When transferring data between two 
Vintage Keys's be sure both units have the same SysEx ID number! Using 
the cursor key and the data entry control, select the type of MIDI data you 
want to transmit. Following are descriptions of the types of MIDI data that 
can be transmitted. 

Current Multisetup 

Transmits all parameters in the Global menu except Tuning Tables, 
Program/Preset Map and Viewing Angle. Transmits the entire Controllers 
menu. 

Program /Preset Map 

Transmits the MIDI Program -> Preset Map. 

Tuning Tables 

Transmits all 12 user User Tuning Tables. 

Bank User Presets 

Transmits all the user defined presets in Bank 0. 

Bank 1 User Presets 

Transmits all the user defined presets in Bank 1. 

Bank 2 User Presets 

Transmits all the user defined presets in Bank 2. 

Bank 3 User Presets 

Transmits all the user defined presets in Bank 3. 



Vintage Keys Operation Manual 97 



MIDI Menu 
MIDI Mode 



MIDI Mode 



Any Individual Preset 

Transmits only the selected preset. 

The Enter LED will be flashing. Press the Enter button to confirm the 
operation. To receive MIDI data, simply send the MIDI data into Vintage 
Keys from another Vintage Keys or from a computer/sequencer. 



SEND MIDI 5Y5EX DRTR 
bank 1 user presets 



► To Record MIDI SysEx Data into an External Sequencer: 

1. Setup the sequencer to receive system exclusive data. 

2. Place the sequencer into record mode, then Send MIDI Data. 

► To Receive MIDI SysEx Data from an External Sequencer: 

Simply play back the sequence containing the SysEx data into Vintage Keys. 

MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi. 



MIDI MODE 
multi 



CHRNGE 
ignored 



The MIDI Mode Change parameter specifies whether mode changes made 
through an external MIDI controller are accepted or ignored. 

The MIDI modes are as follows: 

Omni 

Responds to note information on all MIDI channels and plays the preset 
currently displayed in the main screen. 

Poly 

Responds only to note information received on the currently selected MIDI 
channel (on the preset selection screen) and plays that channel's associated 
preset. 

Multi 

Responds to data on any combination of MIDI channels and plays the 
specific preset associated with each of the MIDI channels. You must select 
multi mode for multitimbral operation. 



98 E-MU Systems 



Programming Basics 



This chapter explains how Vintage Keys sounds are constructed and 
contains important background information on how to create your own 
custom presets. 

Your initial involvement with Vintage Keys will most likely be using the 
existing presets and selecting MIDI channels. While the factory presets are 
very good, there are some things you will probably want to change 
eventually perhaps the LFO speed, the filter frequency or the attack time. 
You may also want to make your own custom presets using complex 
modulation routings. This module will do far more than you ever imagined 
and there are whole new classes of sound just waiting to be discovered. 

Each preset can consist of up to four instrument layers. Each of the four 
layers can be placed anywhere on the keyboard and can be crossfaded or 
switched according to key position, velocity, or by using a real-time control 
such as a wheel, slider, pedal, LFO or envelope generator. A preset can also 
be "linked" with up to 2 more presets creating additional layering or splits. 

Vintage Keys has an extensive modulation implementation using two 
multi-wave LFO's (Low Frequency Oscillators), three multi-stage envelope 
generators and the ability to respond to multiple MIDI controllers. You can 
simultaneously route any combination of these control sources to multiple 
destinations. 

There are 512 user locations (User Banks 0-3) available to store your own 
creations or edited factory presets. It's easy and fun to edit or create your 
own unique presets. 



Vintage Keys Operation Manual 99 



Programming Basics 
Modulation 



Modulation 



To modulate means to dynamically change a parameter, whether it be the 
volume (amplitude modulation), the pitch (frequency modulation), and so 
on. Turning the volume control on your home stereo rapidly back and 
forth is an example of amplitude modulation. To modulate something we 
need a modulation source and a modulation destination. In this case, the 
source is your hand turning the knob, and the destination is the volume 
control. If we had a device that could turn the volume control automati- 
cally, we would call that device a modulation source. 





___ □ CD CD 

o o o 



Turning the volume control back and forth on your home stereo is an example of 
Amplitude Modulation. 



Vintage Keys is designed so that each of the variable parameters, such as the 
volume, has an initial setting which is changed by a modulation source. 
Therefore in the case of volume, we have an initial volume that we can 
change or modulate with a modulation source. 

Two main kinds of modulation sources on Vintage Keys are Envelope Gener- 
ators and Low Frequency Oscillators. In the example above, an envelope 
generator could be routed to automatically turn the volume control as 
programmed by the envelope. Or, a low frequency oscillator could be 
routed to turn the volume up and down in a repeating fashion. 

Positive modulation adds to the initial amount. Negative modulation 
subtracts from the initial amount. 

Summing Nodes 

All the modulation inputs on Vintage Keys are summing nodes. This means 
that you can connect as many modulation sources as you want to an input 
(such as Pitch or AmpVol). Modulation sources are simply added algebra- 
ically — connecting two knobs one set to -100 and the other set to +100 
yields a net value of zero. 



100 E-MU Systems 



Programming Basics 
Modulation Sources 



Modulation 
Sources 



\ 



Tip: Try routing Key 
Clide to Filter Frequency if you 
want the filter to smoothly 
follow pitch in solo mode. 
Routing Key Clide to Pan creates 
another interesting effect. 



Modulation sources include Envelope Generators, Performance Controllers and 
Low Frequency Oscillators. In the previous example, an envelope generator 
was routed to automatically turn the volume control as programmed by the 
envelope, or, a low frequency oscillator could be routed to turn the volume 
control up and down in a repeating fashion. The following is a list of the 
modulation sources used in Vintage Keys. 

Keyboard Key 

Which key is pressed. 

Key Velocity 

How fast the key is pressed. 

Release Velocity 

How fast the key is released. 

Gate 

High if the key is pressed, low when the key is released. 

Key Glide 

A smoothly changing control source based on the Glide Rate and the 
interval between the last two notes played. 

Pitch and Mod Controllers 

Synthesizer pitch bend and modulation controllers. 

Keyboard Pressure (mono aftertouch) 

Key Pressure applied after the keyboard key is initially pressed. 

Pedal 

A continuously variable pedal controller. 

Miscellaneous Controllers A -P 

Any type of MIDI continuous controller data. 

Low Frequency Oscillators (2 per layer) 

Generate repeating waves. 

Envelope Generators (3 per layer) 

Generate a programmable "contour" which changes over time when a key 
is pressed. 

Noise & Random Generators 

Generate spectrums of noise and random signals. 

Footswitches 

Change a parameter when the switch is pressed. 

Clock Divisor 

The master tempo clock can be divided and used as a modulation source. 



Vintage Keys Operation Manual 101 



Programming Basics 
Modulation Patchcords 



Random Sources 



Modulation 
Patchcords 

>0 The controller Knobs 
assignments printed on the front 
panel are the system defaults. 
You can change any of these 
assignments using the Real-time 
Controller Assignment page in 
the MIDI menu (see page 94 for 
details). 



Random modulation sources can be used when you want the timbre of the 
sound to be "animated" in a random or non-consistent manner. 

• Key Random 1 & 2 generate different random values for each layer 
which do not change during the note. 

• The White & Pink Noise Generators produce varying random values. 
Both white and pink noise sources are low frequency noise designed 
for control purposes. Either noise source can be filtered even more by 
passing it through a lag processor. 

• The Crossfade Random function generates the same random value 
for all layers in a preset. This source is designed to be used for cross- 
fading and cross-switching layers, although you may find other uses. 



When setting up modulation with the Vintage Keys, you define a 
modulation source and a modulation destination. Then, you connect the 
source to the destination using "Patchcords." Vintage Keys's Patchcords 
are connected in the software. Vintage Keys has 24 general purpose Patch- 
Cords for each layer. 

You can connect the modulation sources in almost any possible way to the 
modulation destinations. You can even modulate other modulators. Each 
Patchcord also has an amount parameter which determines "how much" 
modulation is applied to the destination. The modulation amount can be 
positive or negative. Negative values invert the modulation source. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 

LF0 2 

Amp Env 

Filt Env 

Aux Env 

Wheel 

Pressure 

etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



102 E-MU Systems 



Programming Basics 
Envelope Generators 



Envelope 
Generators 



If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to work. 



% 



ADSR mode: To create 
a standard ADSR envelope: Set 
Atk1, Atk2 & Dcyl Level to 100, 
RIs 1 & 2 level to 0, and Atk2, 
Dcyl, Rls2 Rates to 0. Program 
Atkl, Dcy2 and Rlsl segments 
as you wish. See page 201 . 



\ 



By routing the Auxiliary 
or Filter Envelopes to control the 
pitch (Patchcords) you can 
easily hear the shape of the 
envelopes you are creating. 



An envelope can be described as a "contour" which is used to shape the 
sound over time in a pre-programmed manner. There are three envelope 
generators per layer and all of them are the rate/level type. 

This is how the rate/level (time based) envelopes work: When a key is 
pressed, envelope starts from zero and moves toward the Attack 1 Level at 
the Attack 1 Rate. As soon as it reaches this first level, it immediately begins 
the next phase and moves toward the Attack 2 level at the Attack 2 rate. As 
long as the key is held down, the envelope continues on through the Decay 
1 and Decay 2 stages. If the key is still held when the envelope reaches the 
end of Decay 2, it simply waits there for you to release the key. When you 
release the key, the envelope continues into the Release 1 and Release 2 
stages, stopping at the end of the Release 2 stage. Vintage Keys's envelope 
generators provide great flexibility for programming both complex and 
simple envelopes. 



t 



level 



time 




Key 
Down 



Key 
Released 



All three envelope generators have the six stages described above. The 
Volume Envelope generator controls the volume of the voice over time. 
The Filter Envelope generator is a general purpose envelope most often 
used to control the filter frequency. Unlike the Volume Envelope, however, 
the Filter Envelope can have a negative level value as well as a positive 
level. There is also an Auxiliary Envelope generator which is a general 
purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope 
and can have negative as well as positive levels. You can adjust the time of 
each stage to create myriad envelope shapes, which in turn shape the 
sound over time. 

• Volume envelopes contour the way the volume of a sound changes 
over time determining how we perceive that sound. For example, a 
bell struck with a hammer is instantly at full volume, then slowly dies 
away. A bowed violin sound fades in more slowly and dies away 
slowly. Using Vintage Keys's Volume Envelope, you can simulate the 
different types of natural instrument volume envelopes by program- 
ming them appropriately. 



Vintage Keys Operation Manual 103 



Programming Basics 
Envelope Generators 



S*> 



Only the Filter and 
Auxiliary Envelopes have the 
repeating feature. 



Tempo-based Envelopes 

Tempo-based envelopes are based on Time which is controlled by the 
Master Tempo (located in the Global menu). The Master Tempo rate scales the 
time of the Tempo-based envelope segments. The Master Tempo can be set 
to use an external MIDI clock so that the envelope times can be synchro- 
nized to external sequencer or arpeggiator tempo changes. See page 82. 



Tempo-Based Envelopes 




= Initial Setting 

= Increase Master Tempo 

= Decrease Master Tempo 



Envelope Repeat 

The Envelope Generators can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. As soon as the key is released, 
the envelope continues through its normal Release stages (1 & 2). 



t 

level 



time 




Key Down 



Key Released 



The diagram above show how the looping envelopes work. When the key is 
pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 
and Decay 2 stages. In non-looping mode, the envelope would hold at the 
end of the Decay 2 stage until the key was released. In looping mode 
however, it jumps back to the Attack 1 stage and repeats the first four 
stages. It continues to loop through these four stages until the key is 
released where it immediately jumps to the Release 1 stage. 



104 E-MU Systems 



Programming Basics 
Low Frequency Oscillators (LFOs) 



Low 

Frequency 
Oscillators 
(LFOs) 



LFO Tricks & Tips: 

• The Random LFO wave is truly 
random and is different for 
each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

•k When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



^ 



Try combining the 
Pattern LFOs, or controlling the 
amount of one with another, or 
combining them with the clock 
divisors. 



A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow 
rate. The Vintage Keys has two multi-wave LFOs for each channel. The LFO 
waveforms are shown in the following illustration. 



Random 



Triangle 



Sawtooth 



-TLJWl 



Sine 



Square 



33% Pulse 



l~L 



25% Pulse 



16% Pulse 



12% Pulse 



[LJU ILJLJ fl 



Pat: Octaves 

+ Octave 



Pat: Neener 



Pat: Fifth + Octave 

c. 



J — L 



Pat: Sus4 trip 

G, 



Sine 1,2 



Sine 1,3,5 




Sine + Noise 



Hemi-quaver 



■^V/V 4\ 




By examining the diagram of the LFO waveforms, you can see how an LFO 
affects a modulation destination. The shape of the waveform determines 
the result. Suppose we are modulating the pitch of an instrument. The sine 
wave looks smooth, and changes the pitch smoothly. The square wave 
changes abruptly and abruptly changes from one pitch to another. The 
sawtooth wave increases smoothly, then changes back abruptly. The 
sound's pitch follows the same course. Controlling the pitch of an 
instrument is an easy way to hear the effects of the LFO waves. 

Like the Auxiliary Envelope, LFOs can be routed to control any real-time 
function such as Pitch, Filter, Panning, or Volume. A common use for the 
LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called 
vibrato and is an important performance effect. Many presets use this 
routing with the modulation wheel controlling "how much" LFO 
modulation is applied. Another common effect, Tremolo, is created by 
controlling the volume of a sound with the LFO (LFO -> Volume). 



Vintage Keys Operation Manual 105 



Programming Basics 
Clock Modulation 



Clock 
Modulation 



^> 



Envelopes are triggered 
on the positive going edge of the 
clock. LFOs are triggered on the 
negative going edge of the clock. 



>0 The tempo of the master 
clock is set in the Global menu. 



You might use the LFOs to add a slight bit of animation to the sound by 
routing the LFO to control the filter. For this effect, set the LFO "amount" 
low for a subtle effect. 

When a Patchcord amount is a negative value, the LFO shape is inverted. 
For example, inverting the sawtooth wave produces a wave that increases 
abruptly, then smoothly glides down. 



Negative Amount 

-► - ■>r\c+ — ► 




Sawtooth 



Inverted Sawtooth 



You can use the Master Clock as a modulation source, to trigger the Filter or 
Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs, 
or directly as a square wave modulation source. The Clock source is 
available in eight divisions (octal whole note, quad whole note, double 
whole note, whole note, half note, quarter note, eighth note, sixteenth 
note). You can use the different rates separately or in conjunction to create 
complex "synchro-sonic" rhythm patterns. You can also use a MIDI Clock 
as the Master Clock to synchronize to an external MIDI device such as a 
drum machine or sequencer. (See Master Tempo in the Global menu.) 

Clocks are routed exactly like the other modulations sources using the 
Patchcords. The Patchcord Amount MUST be positive (+) for the clock to 
pass. By modulating the Patchcord Amount, you can route the divided 
clocks using real-time controllers or other modulation sources. 

When an LFO is triggered by a clock, the LFO wave resets to zero every time 
the clock wave goes low. If the LFO rate is close to the clock rate, the LFO 
virtually synchronizes with the clock. If the two rates are far apart, the 
waveform of the LFO will be mildly or radically altered. 



Triggered LFO 



LFO Wave 



Clock 




LFO Trigger causes the LFO to reset each time the clock waveform goes low. 



106 E-MU Systems 



Programming Basics 
Clock Modulation 



/\ 


\/ 


/N 


\/ 



LFO Synced to 1/4 Note Clock 



LFOs can also be perfectly synchronized with the clock at any of 25 note 
divisions. This allows you to create very cool "synchro-sonic" effects that 
work perfectly at any tempo. Choosing one of the note divisors in the LFO 
rate screen selects the synced LFO function. 

There are many possibilities for clock modulation and retrigger. For 
example, you can create a repeating six segment curve of any shape by 
triggering the Filter or Auxiliary Envelope generators with the clock. A few 
other possibilities are listed below. 

• Turn different voice layers on and off using different clock divisors. 

• Switch between Auxiliary and Filter Envelope retriggering using a 
slider or footswitch. 

• Retrigger LFOs or Envelopes using noise or other LFOs to create 
random or semi random effects. 

• Alter the LFO waveform by modulating the rate of a triggered LFO. 

• Route multiple clocks with different divisors to the same destination 
(such as pitch) to create complex patterns. (Hint: Adjust the Patchcord 
Amounts.) 



Eighth 
Note 



Quarter 
Note 




Adding these two clocks together in equal amounts produces a stairstep waveform. 



16th 
Note 



8th 
Note 



rLTL = 



Quarter 
Note 



Adding multiple clocks with unequal amounts produces complex repeating patterns. 



Vintage Keys Operation Manual 107 



Programming Basics 
Modulation Destinations 



Modulation 
Destinations 



s*> 



All the modulation 
destinations are summing 
nodes. This means that you can 
connect as many modulation 
sources as you want to a 
destination. Modulation sources 
are simply added algebraically 
— connecting two sources, one 
with a value of -100 and the 
other with a value of + 100 yields 
a net value of zero. 



The Patchcords section of the Preset Edit menu is where you connect 
sources to destinations. Each Patchcord has an amount associated with it 
which controls how much modulation is applied. 



L1 PRTCHCORD 
ModWhl -> RTXfade 



#01 
+036 



The Patchcords screen above and the diagram below show how 
modulation sources are connected to destinations. The modulation sources 
can control any of the destinations in the layer. 




Layer 



Z Plane 
Filter 



Fre< ^ X 

■-ffl. 



Gain 




Envelope 
Gen. 



ITTT 



Envelope 
Gen. 



im 




Mod 
Wheel 



1 



0,-f- 



Envelope 
Gen. 



A A A A 



MIDI 
Controls 



± 



Key # 

Velocity 

Gate 



1 



Mod. 
Proc. 



XX 



• Note-on modulation sources, such as key velocity and gate output a 
single value at note-on time. Realtime modulation sources such as 
LFOs, envelope generators and modulation wheels output 
continuously changing values. 

The possible modulation routings are completely flexible as shown in the 
diagram above. Multiple sources can control the same destination, or a 
single source can control multiple destinations. 



108 E-MU Systems 



Programming Basics 
Modulation Processors 



Modulation 
Processors 



Modulation processors are devices which can modify modulation sources 
such as LFOs and envelope generators before they are applied to a desti- 
nation. Modulation processors let you create patches and do tricks which 
would not be possible otherwise. These modulation processors are indepen- 
dently programmable on each of the four layers. 

Switch 

Outputs a digital "1" when the input is greater than "0". 




Switch 

(above zero) 



Summing Amp 

Lets you add several modulation signals together before applying them to a 
destination. This processor can save Patchcords when routing the output 
to multiple destinations. 




-DC 

_n_n_n_n_ 



Lag Processors 

Slows down rapid changes in the input signal. The output "lags" behind the 
input at a pre-programmed rate. There are two lag processors, Lag and Lag 
1. Lag 1 has a longer lag time than Lag 0. 



Lag 
Processor 



Absolute Value 

This function inverts negative input values and outputs only positive 
values. This device is also called a full wave rectifier. 




Absolute 
Value 



Vintage Keys Operation Manual 109 



Programming Basics 
Modulation Processors 



>0 The value of a digital 
"7 " is equal to the Patchcord 
amount. 



\ 



Summing Amps can be 
useful in complicated patches 
where you want to control a 
combination of modulation 
signals with a single patchcord. 



Diode 

The diode blocks negative input values, passing only positive values. 




/vy\ 



Flip-Flop 

The output of this processor alternates between a digital "1" and digital "0" 
each time the input goes positive from zero or a negative value. With an 
LFO input, the output will be a square wave of half the input frequency. 




Flip-Flop 



Quantizer 

With the input Patchcord set to 100%, the output value is limited to 16 
discrete values. The value of the input Patchcord controls the number of 
steps. The value of the output Patchcord controls the size of the steps. 




#of 
Steps 



Quantizer 




4x Cain 

This processor amplifies the modulation source by a factor of 4. 




Lag Inputs 

The Lag processors can be used as 2 additional summing amps. LagOsum 
and Laglsum are modulation sources which equal the sum of Patchcords 
connected to the Lag in destination. The summing amp is located before 
the lag processor as shown in the following illustration. 



Sum Node 



Lag 




Lag sum 



110 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Preset 

Modulation 

Processors 

^S Preset Modulation 
Processors start working as soon 
as the preset is selected. The 
Layer Modulation Processors 
take effect only when a key is 
pressed. 



There are also two "Preset Level" modulation processors located in the 
"Preset Patchcords" screen of the Edit menu. It is important to understand 
that although the preset processors originate at the Preset Level Patchcords, 
their output is used in the Layer Patchcords. 

Preset Lag 

Like the Layer Lag processors (described on page 1 09) the Preset Lag slows 
down rapid changes in the input signal. The output "lags" behind the input 
at a pre-programmed rate. Unlike the layer level lag processors, the preset lag 
takes effect as soon as the preset is selected. In contrast, the layer level lag 
processors begin acting only after a keyboard key has been depressed. The 
Preset Lag also has a Lag Amount input which controls the lag time. Positive 
lag amounts increase the lag time. A MIDI controller (front panel knob) is 
commonly used to control lag amount. 

The preset lag can be used to "spin-up" and "spin-down" an LFO which 
controls some other effect, perhaps left/right panning, pitch, or the filter. A 
MIDI footswitch could be used as the input to the lag which acts to slow 
down the instantaneous change of the switch. The slowly changing output 
value is then routed using a layer patchcord to crossfade between layers or 
change the speed of an LFO. 




ex. footswitch 



Lag Amount 

(+ value = longer) 

Preset Ramp 

This processor generates a positive or negative going slope whenever the 
first key is depressed on the MIDI channel. 



1st Note 
Played 



Preset Ramp 

Positive Rate 



Preset Ramp 

Negative Rate 



original 
value 




original 
value 



time 




time 



1st Note 
Played 



Vintage Keys Operation Manual 111 



Programming Basics 
Preset Modulation Processors 



The preset ramp instantly resets when all notes have been released and the 
next first key on the MIDI channel is pressed. The Ramp Rate polarity 
(+ or -) determines if the ramp will be positive or negative going. The value 
of the ramp rate sets the increment. Large values produce fast ramps and 
small values produce slow ramps. Multiple inputs can be connected to the 
ramp rate (just like all the other destinations in Vintage Keys). 

The patch below shows an application for the Preset Ramp which generates 
an adjustable decay envelope ONLY on the first note played to bring in the 
sound from another layer. Instead of routing the output to the Amp 
Volume you could just as easily route it to control Pitch, LFO Speed or any 
other destination you can think of. Study this patch if you want to learn a 
few new tricks using the patchcords. 



One Layer 



Initial Setting 
-96 dB (off) 



Real Rocket Science 



Percussion 
Instrument 




Z-Plane 
Filter 




w 


^ 





► R 



>-L 



Decay Time 
(MIDIC) 



Preset 
Cords 



Perc. Amount 
(MIDI H) 



Cord 
+ 100 



Layer 
Cords 



\ 



The combination of the 
DC & Perc. Decay Time Cords 
has the effect of reversing the 
Percussion Decay Time knob. 
The decay time increases as the 
knob is turned up. 



1. DC - Sets initial ramp Fast-Positive (+100) 

2. Decay Knob - Inverted value slows ramp as the knob value is increased. 

3. Ramp Out Cord - Inverts Ramp slope (downward). 

4. Amp Vol - Initial setting is Off (-96dB). Ramp cannot overcome this 
negative bias. 

5. Perc. Amt - When this knob is turned up, the positive bias on the Amp 
is restored so that so that the Ramp can now affect Amp Volume. 

6. Volume Envelope - Fast Attack, Full Sustain, No Release 



112 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Using the 

Modulation 

Processors 



Modulation processors are inserted into a modulation routing as shown in 
the following diagram. 

The modular analog synthesizers of yesteryear were incredibly flexible, 
partly because processing devices could be connected in any order. 
Modulation processors are designed according to this modular concept. 
They can be linked and used in a wide variety of ways limited only by your 
imagination. Consider the following example: 



Velocity ~ J 



Cord 



Switch 



Switch On when 
Velocity > 



Cord 
Switch value 
is Scaled by 
Cord Amount 




The patch illustrated above is programmed by setting the Patchcord 
screens as shown below. 



L1 PRTCHCORD 
Vel+- -> Switch 



#01 
+100 



L1 PRTCHCORD 
Switch -> Pitch 



#02 
+022 



This particular modulation shifts the overall pitch up a fifth when the key 
velocity exceeds 64. Velocities below 64 play at normal pitch. Notes with 
velocities of 64 and above are raised a perfect fifth. The Velocity "~" source 
scales the played velocity around zero. In other words, low velocities (below 
64) will have negative values and high velocities (64 and above) will be 
positive. A velocity of 64 would be zero. The Switch module only outputs a 
"1" if the input value is greater than zero. This digital "1" value can be 
scaled through the attenuator on the Patchcord to raise or lower the pitch 
by any amount. In this case, a scaling value of +22 raises the pitch by a 
perfect fifth. The amount of the Patchcord on the input to the switch is 
unimportant because ANY velocity value equal or greater than 64 will flip 
the switch. If the input Patchcord amount were a negative value however, 
the action of the velocity would be reversed and velocities less than 64 
would raise the pitch and velocities equal or greater than 64 would play the 
original pitch. 



Vintage Keys Operation Manual 113 



Programming Basics 
Preset Modulation Processors 



But what if you want the velocity switch point to be something other than 
64? Thanks to modulation processors, it can be done. Here's how. 



Velocity ~ J c 



DC 



Cord 
-21 



Cord 



Switch 



Switch On when 
Velocity > 



J 



Cord 
Switch value 
is Scaled by 
Cord Amount 




Connect the DC level to the input of the switch along with the velocity 
value. Note that more than one modulation source can be applied to the 
input of a processor. 

DC offset adds a fixed value based on the Patchcord Amount setting. If 
applied to the switch along with the velocity it changes the velocity value 
required to trip the switch. By setting the DC amount to a negative 
amount, higher velocity values are required to trip the switch. Setting the 
DC value to a positive value would bring the velocity switch point down. 
The Patchcord screens for this patch are shown below. 



L1 PRTCHCORD 
Vel+- -> 5iDitch 


#01 
+100 






L1 PRTCHCORD 
DC -> Switch 


#02 
-021 








L1 PRTCHCORD 
Switch -> Pitch 


#03 
+022 





114 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



More Examples 



To derive a smooth random function you could route the Pink Noise 
generator through one of the Lag Processors. A smooth random wave is 
useful in small amounts to add a degree of natural variation to timbre when 
routed to filter cutoff. Normal pink noise is low pass filtered audio 
frequency noise with a 3 dB/octave slope to give equal energy per octave. 
Vintage Keys pink noise is actually more like very low frequency filtered 
noise, but it is perfect for use as a random control source. 



Pink 
Noise 



Lag 
Processor 



Cord 



Lag Smooths 
Pink Noise 



Cord 



Filter 
Cutoff 



Smooth 
Random Function 



The Quantizer can generate interesting whole-tone scales when envelope 
generators or LFOs are routed to the input. The quantizer turns a smoothly 
changing input signal into a series of steps. By routing the output of the 
quantizer to Pitch and adjusting the Patchcord amounts, you can control 
both the number of steps and the pitch interval of each step. 



Number 

of 

Steps 



Size 

of 

Steps 




Quantizer 



Cord 




Cord 



The input Patchcord amount controls how many steps will be generated. 
With a sawtooth wave (LFO+) feeding the input and the Patchcord amount 
set to 100%, sixteen steps are generated. The output Patchcord amount 
controls the size (or interval) of the steps. 

Try setting up the following patch exactly as shown below using your 
favorite preset as a starting point. 





L1 LF01 


5HRPE 
sawtooth 


SYNC 
key sync 








L1 LF01 


RRTE 
0.35Hz 


DELRY VRR 
000 000 





Vintage Keys Operation Manual 115 



Programming Basics 
Preset Modulation Processors 



V 



The 4x Amp can be used 
to get more steps or increase the 
interval of the Quantizer. 



\ 



Experiment with this 
patch by connecting other 
sources and destinations to the 
Quantizer. 



L1 PRTCHCORD 
LF01+ -> Quantize 



#01 
+030 



L1 PRTCHCORD 
Quantize -> Pitch 



#02 
+100 




This patch generates an ascending arpeggio every time a key is pressed. A 
diagram of the patch is shown below. The patch is very straightforward 
except for the DC offset which was added to bring the pitch down into 
tune. (Sometimes you have to fix a problem, but using the mod processors 
there's usually a way around it to achieve the desired result.) 



LFO+ 



Number 
100% 




-50% 



You can start to see some of the possibilities (and there are many). 
Whenever you find yourself wishing for some esoteric type of control, take 
a minute to think and see if there is a way to achieve the desired result 
using the modulation processors. 



116 E-MU Systems 



Programming Basics 
Dynamic Filters 



Dynamic 
Filters 



The block diagram of the Vintage Keys's signal path is shown below. 




Vol Pan 



To understand how a filter works, we need to understand what makes up a 
sound wave. A sine wave is the simplest form of sound wave. Any 
waveform, except a sine wave, can be analyzed as a mix of sine waves at 
specific frequencies and amplitudes. 




+ wv 




Any waveform can be analyzed as a mixture of sine waves. 

One way to represent complex waveforms is to use a chart with frequency 
on one axis and amplitude on the other. Each vertical line of the chart 
represents one sine wave at a specific amplitude and frequency. 



100 



80 H 
01 
3 60 



40 



20 



40 80 160 360 720 1440 2880 

Frequency 



Vintage Keys Operation Manual 117 



Programming Basics 
Dynamic Filters 



What is a Filter? 



Most sounds are complex waves containing many sine waves of various 
amplitudes and frequencies. A filter is a device which allows us to 
remove certain components of a sound depending on its frequency. For 

example, a low-pass filter lets the low frequencies pass and removes only the 
high frequencies as illustrated in the following diagram. 



100 



Cutoff Frequency 




Low Pass 
Filter 



40 80 160 360 720 1440 2880.. 

Frequency 



A filter that lets only the high frequencies pass is called a high-pass filter as 
illustrated in the following diagram. 



100 



80 

01 
"§60 

"5. 

£ 40 

< 

20 



Initial Frequency 



Filter Output 



High Pass 
Filter 



40 80 160 360 720 1440 2880... 
Frequency 



118 E-MU Systems 



Programming Basics 
Dynamic Filters 



A filter which only lets a certain band of frequencies pass is called a 
band-pass filter. 



100 



80 

1 60 

"5. 

£ 40 
< 

20 



Center Frequency 



Filter 
Output 



I 



Band Pass 
Filter 



40 80 160 360 720 1440 2880... 

Frequency 



A notch filter is just the opposite of a band-pass filter and is used to 
eliminate a narrow band of frequencies. 

Another control found on traditional filters is called Q or resonance. A 
lowpass filter with a high Q emphasizes the frequencies around the cutoff 
frequency. The following chart shows how different amounts of Q affect 
the low-pass filter response. In terms of sound, frequencies around the 
cutoff tend to "ring" with high Q settings. If a filter with high Q is slowly 
swept back and forth, various overtones are "picked out" of the sound and 
amplified as the resonant peak sweeps over them. Bells and gongs are real 
world examples of sounds which have a high Q. 



m 

3 

■M 

"5. 

E 

< 




Frequency 



Vintage Keys Operation Manual 119 



Programming Basics 
Dynamic Filters 



Another characteristic of a filter is the number of poles it contains. Tradi- 
tional synthesizer niters were usually either 2-pole or 4-pole niters. The 
Vintage Keys has selectable 2, 4, and 6-pole low-pass niters. The number of 
poles in a filter describes the steepness of its slope. The more poles, the 
steeper the filter's slope and the stronger the filtering action. The tone 
controls on your home stereo are probably one-pole or two-pole niters. 
Parametric equalizers are usually either two-pole or three-pole niters. 

In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole 
filters, Oberheim and E-mu synthesizers were famous for their 2-pole filter 
sound. 



01 

-a 

3 





4-pole \ 




\6-pole ^ 


2-pole 


r 


\ Lowpass 


S. Lowpass 



Frequency 

Using a filter, we have a way to control the harmonic content of a sound. 
As it turns out, even a simple low-pass filter can simulate the response of 
many natural sounds. 

For example, when a piano string is struck by its hammer, there are initially 
a lot of high frequencies present. If the same note is played softer, there are 
fewer high frequencies generated by the string. We can simulate this effect 
by routing keyboard velocity to control the low-pass filter. The result is 
expressive, natural control over the sound. 

If you use an envelope generator to control the cutoff frequency of a filter, 
the frequency content can be varied dynamically over the course of the 
note. This adds animation to the sound as well as simulates the response of 
many natural instruments. 



120 E-MU Systems 



Programming Basics 
Dynamic Filters 



Parametric Filters 



A more complex type of filter is called a parametric filter or Swept EQ. A 
parametric filter allows control over three basic parameters of the filter. The 
three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows 
you to select the width of the range of frequencies to be boosted or cut, the 
Frequency defines the center frequency of the bandwidth, and the Gain 
parameter either boosts or cuts the frequencies within the selected band by 
a specified amount. Frequencies not included in the selected band are left 
unaltered. This is different from a band-pass filter which attenuates 
(reduces) frequencies outside the selected band. 



+18 dB 



0) 
T3 

3 

7= OdB 



Freq 



-18 dB 




Parametric 
Filter 



Frequency 



The parametric filter is quite flexible. Any range of frequencies can be either 
amplified or attenuated. Several parametric sections are often cascaded in 
order to create complex filter response curves. 

If four parametric filter sections were cascaded, it would be possible to 
create the following complex filter response. 

4 Parametric Equalizers 




500 10,000 15,000 20,000 

Linear Frequency - Hertz 

Many natural instruments have complex resonances which are based on 
their soundboard or tube size. The resonance shown above would be impos- 
sible to create using a normal synthesizer filter. 



Vintage Keys Operation Manual 121 



Programming Basics 
Dynamic Filters 



The Z- Plane Filter 



A Z-plane filter is a filter which can change its function over time. In a 
Z-plane filter, we start with two complex filter types and interpolate 
between them using a single parameter. See the following diagram. 




Morph 



Frequency 



The Z-plane filter has the unique ability to change its function over time. 



Filters A and B represent two different complex filters or "frames." 
Changing a single parameter, the Morph, changes many complex filter 
parameters simultaneously. Following along the Morph axis you can see 
that the filter response smoothly interpolates between the two filters. This 
is the essence of the Z-plane filter. Through the use of interpolation, many 
complex parameters are condensed into one manageable entity. 

Consider, as an example, the human vocal tract, which is a type of complex 
filter or resonator. There are dozens of different muscles controlling the 
shape of the vocal tract. When speaking, however, we don't think of the 
muscles, we just remember how it feels to form the vowels. A vowel is really 
a configuration of many muscles, but we consider it a single object. In 
changing from one vowel to another, we don't need to consider the 
frequencies of the resonant peaks. You remember the shape of your mouth 
for each sound and interpolate between them. 

This Z-plane filter sweep can be controlled by an envelope generator, an 
LFO, modulation wheels or pedals, keyboard velocity, key pressure, and so 
on. In fact, any of the modulation sources can control the Z-plane filter. 

Because creating the complex filtering is difficult and very time consuming, 
we have created 50 different filters and installed them permanently in ROM 
for your use. You simply select and use the niters in a manner similar to 
choosing an instrument. Because there are so many types of instruments 
and niters to choose from, the number of possible permutations is 
staggering. 



122 E-MU Systems 



Programming Basics 
Signal Flow 



Signal Flow 



Going back to the Signal Path diagram for a single channel we can 
reexamine the complete signal path. 



Instrument 

Sample 
Pitch Start 



w 


Z-Plane 
Filter 






W 


Freq Q 




r 


J 




, l 




Filter 
Envelope 




Velocity 




DCA 



Pan 



r\ 



>-R 



Volume 



Volume 
Envelope 



Instrument 

This is the sampled sound wave. The pitch of the instrument can be 
modulated by any modulation source. The sample start point can be 
changed only at the time the note is played. 

Z-Plane Filter 

The Z-Plane Filter is used to shape the harmonic content of an instrument. 
The filter envelope is commonly used to shape the harmonic content 
dynamically over time but the filter frequency can be modulated by any 
source. The Q parameter can be modulated only at note-on time. There are 
50 types of filters available. See "Vintage Keys Filter Types" on page 148 for 
a complete list of the filters. 

Digitally Controlled Amplifier (DCA) 

Together with the Volume Envelope, the DCA is used to shape the volume 
contour of a sound. The DCA can be controlled by any modulation source. 
Velocity is often used as a modulation source for the DCA so that the harder 
you play the louder the sound becomes. 

Pan 

Adjusts the balance of sound to the left and right channels. Pan can be 
modulated by any modulation source. 



Vintage Keys Operation Manual 123 



Programming Basics 
MIDI Channels & Real-time Controls 



MIDI Channels 
& 

Real-time 
Controls 



>0 The following 


MIDI 


controls are automatically routed 


in Vintage Keys: 




Pitch Wheel 


pwh 


Modulation Wheel 


01 


Pedal 


04 


Volume 


07 


Pan 


10 


Expression 


11 



The MIDI real-time controllers may seem confusing at first, but they are 
really very simple once you understand them. You already know that there 
are 16 MIDI channels per MIDI cable. Each MIDI channel uses three basic 
types of messages; note on/off, preset changes, and continuous controller 
messages. Vintage Keys can also send real-time control information, which 
simply means control occurring in real-time or "live." Real-time control 
sources include such things as controller knobs, pitch wheels, modulation 
wheels, control pedals and aftertouch. These are used to add more 
expression or control. 

The front panel control knobs send out real-time controller information on 
separate continuous controller numbers. There is a set of 32 continuous 
controller numbers for each MIDI channel. Some continuous controllers, 
such as modulation wheel, volume, and pan have standardized numbers. 
For example, volume is usually sent on continuous controller #7. The front 
panel controller knobs on are pre-programmed to control the Vintage Keys. 



MIDI 
Channel 2 



MIDI 
Channel 1 






Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



MIDI 
Channel 3 


• • • 




Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







MIDI 
Channel 16 




Note 
On/Off 












Program 
Change 














Continuous 
Controllers 









Any MIDI controller can be routed to any modulation destination. First, 
you have to know which controller numbers your keyboard transmits. Most 
modern MIDI keyboards let you select a controller number for each control 
on the keyboard. For example, it may let you select a number from 0-31 for 
the data slider. The realtime controller numbers that the keyboard 
transmits must match the numbers Vintage Keys is receiving, otherwise 
nothing will happen when you move the controls. 

Suppose you wanted to send the four data knobs on another keyboard via 
MIDI to Vintage Keys. Vintage Keys can handle up to 16 MIDI controllers 
(A-P) of your choosing. "MIDI A-P" are simply names for the internal 
connections that link external MIDI continuous controllers to the 
Patchcord section of Vintage Keys. There are two parts to the connection. 
First, MIDI controller numbers are assigned to the letters A-P in the 
Controllers menu. Next, the letters A-P are connected to synthesizer control 
parameters in the Patchcord section of the Preset Edit menu. The 
Patchcord Amount scales the amount of each controller by a positive or 
negative value. 

The factory presets have the MIDI A-L controls connected to standard 
synthesizer functions (marked on the front panel). By choosing any four of 



124 E-MU Systems 



Programming Basics 
MIDI Channels & Real-time Controls 



the 12 standard functions, the four knobs on your keyboard will work the 
same on every preset. The chart below shows how this might work if your 
keyboard transmitted the slider settings on MIDI controllers 21-24. 



Control 


MIDI Controller # 


Routing 


Standard Function 


Slider 1 


21 


A 




Controls Filter Frequency 


Slider 2 


22 


B 




Controls Filter Resonance 


Slider 3 


23 


C 




Controls Filter Attack 


Slider 4 


24 


D 




Controls Filter Decay 



pvnDi^> 



MIDI 
Menu 



MIDI 



^e: 



64- Controller 

9 ! s- A 



MIDI 



t ^ 

I]- Controller 



o- 

i; MIDI 

64- Controller 

<*- C 






MIDI 



^ 



64- Controller 

sfe- L 



12 Control 
Knobs 







Preset Edit 
Menu 






Amount 



Patchcord Destinations 

Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfade 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1-24 Amount 



FXASend 1-4 
FXBSend 1-4 
Preset Lag In 
Preset Lag Amount 
Preset Ramp Rate _ 



Preset 
Cords 



MIDI A-P are internal connections which simultaneously carry front panel controller knob 
data and MIDI continuous controller data. 

The front panel controller knobs work just like MIDI real-time controllers. 
The four controller knobs can be assigned to the first 12 controllers A-L. 
The front panel knob and incoming MIDI controller messages assigned to 
that letter, both control the same parameter that you select in the 
Patchcord screen. 



Vintage Keys Operation Manual 125 



Programming Basics 
MIDI Channels & Real-time Controls 



Bank Select 
Commands 



% 



When you press the 
Audition button, the Bank Select 
MSB and LSB are displayed on 
the top line of the display. 



When the original MIDI specification was developed, no synthesizer had 
more than 40 preset locations. At that time being able to select up to 128 
presets didn't seem like much of a limitation. So it was that the original 
MIDI specification provided for the selection of up to 128 presets. 

Musicians wanted MORE presets and so the MIDI specification was later 
amended to include Bank Select Commands. It was decided that Bank 
Select Commands would use Continuous Controllers and 32 to allow the 
selection of up to 16,384 banks of 128 presets (over two million presets). 

Because Bank Selects are implemented using Continuous Controllers, the 
Bank Selections can be made per channel. (This is getting better and better.) 
For each MIDI channel, you can select any of 16,384 banks and then one of 
the 128 presets in the bank. Of course no synthesizer has 16,384 banks 
(yet), but hey, it's nice to know it's possible (for that really BIG project). 

Continuous Controller (CC) is the MSB (most significant byte) and CC 32 
is the LSB (least significant byte). Normally you send both the MSB and LSB 
controllers to implement a bank change. 

Vintage Keys remembers the MSB and the LSB that were last sent (or last 
changed from the front panel). For example, if you have already set the 
Bank MSB to 04, you need only send the LSB to change banks within the 
Vintage Keys sound set. See the MIDI Bank Select chart below. 

The selected bank remains selected until you change it (either via MIDI or 
by changing the bank from the front panel). Standard MIDI Program 
Change commands select from 128 presets within the selected bank. 



MIDI BANK SELECT 




MSB 


LSB 






ccOO 


cc32 




USER 


00 


00 


BankO 


USER 


00 


01 


Bankl 


USER 


00 


02 


Bank 2 


USER 


00 


03 


Bank 3 


VROM 


18 


00 


BankO 


VROM 


18 


01 


Bankl 


VROM 


18 


02 


Bank 2 


VROM 


18 


03 


Bank 3 



126 E-MU Systems 



Programming Basics 
Stereo Mix Outputs 



Stereo Mix 
Outputs 



This feature is useful for adding signal processing (EQ, reverb, etc.) of 
individual sounds prior to final mixdown. 

The routing can be performed according to MIDI channel from the Mix 
Output screen in the Global menu. Simply assign each channel to the 
desired output. 



Global 
Menu 



MIX OUTPUT 

channel 01: Send 1->main 



To route a particular preset to a Send, first go to the Mix Output screen in 
the Global menu and set the MIDI channel to "use preset". 



Global 
Menu 



MIX OUTPUT 

channel 01: use preset 



Next set the Mix Output routing in the preset to the desired output (for 
each layer). Yes, you can send each layer to a different send if you want. 



Preset Edit 
Menu 



L1 MIX OUTPUT 
Send 2 -> main 



By sending different amounts of presets to the effects, subtle or striking 
effects can be achieved using the two effect processors. This feature allows 
you to get the most out of two effects since you can have eight different 
mixes. 

For more information, refer to the diagram on the following page or, See 
"Mix Output" on page 86. 



Vintage Keys Operation Manual 127 



Programming Basics 
Stereo Mix Outputs 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 



Mix 
Output 

Send 1 



Mix Output 
Ch 1 PRESET 



FX Sends Hall 1 

^Send 1 15%] ' 



mEEUmi Effect 
A 



| Send 3 0%] 



| Send 4 0%~| 



/>"' 




FX Sends 

HSendl 0%] 



Chorus 



B^^ Effect 

| Send 3 20%] 



| Send 4 15%] 



B 



jack Detect 



GLOBAL MENU 



The Mix Output screen in the Global menu assigns each MIDI channel to a 
Send (1-4) or to "Preset". 

The Mix Output screen in the Preset Edit menu is ONLY used if the Global 
Mix Output is set to "Preset". Otherwise the Preset Edit menu Mix Output 
settings are ignored. 



128 E-MU Systems 



Preset Edit Menu 



^ 



While the Preset Edit 
menu is activated, all incoming 
MIDI preset changes on the 
selected channel are ignored. 



<5>& 

If there is no "A " option 
in the Layer field, you must 
enable the "Edit All Layers" 
function in the Global Menu 
(page 92). 



The Preset Edit Menu contains four layers of preset parameters that you can 
modify and then save as preset information in one of the user preset 
locations. There are four instrument layers in the Preset Edit menu. See the 
illustration on page 130 for a description of the Preset Layer model. 

► To Access the Preset Edit Menu: 

Press the Preset Edit button, lighting the LED. The Preset Edit Menu screen 
displays the menu page most recently selected since powering up Vintage 
Keys. The cursor appears below the first character of the screen heading on 
line one. 

► To Scroll through Layers: 

Place the cursor below the layer field. Rotate the data entry control to select 
a layer (1-4). 

You can also select All Layers by choosing "A" in the layer field. When All 
Layers is selected, the existing parameter value for any field will be 
displayed if the values of all four layers are equal. If the values of all four 
layers are NOT equal, the value of layer 1 will be displayed with flashing 
characters. If you change the parameter value, all layers will assume the 
new value and the display will stop flashing. 

► To Scroll through Pages: 

Whenever you are in the Preset Edit menu, the sixteen command buttons 
function as "jump" buttons to various screens in the Preset Edit menu, 
which are labelled below each button. Pressing a jump button instantly 
takes you to the first screen in the selected category. Pressing the button 
again takes you to the second screen in the category and so on. Repeated 
pressing will rotate you back to the first screen in the category. 

You can also change pages by placing the cursor below the page title field. 
This will automatically be done when you press the Home/Enter button. 
Rotate the data entry control to scroll through the pages. 

► To Change a Parameter: 

Place the cursor below the parameter field. Rotate the data entry control to 
change the parameter value. 



Vintage Keys Operation Manual 129 



Preset Edit Menu 
Preset Name 



Preset Name 



>0 You can also select 
characters using the keyboard. 



Four Layer 
Architecture 



The Preset names consists of two parts: a 3 letter preset category and a 12 
letter preset name. Position the cursor under the character location and use 
the data entry control to change the character. 

The preset category is used in conjunction with the Sound Navigator 
feature. Using the Sound Navigator, a category is selected and the presets in 
that category are listed in alphabetical order. Creating categories makes it 
easier to find specific sounds when you need them. For more information 
on Sound Navigator, see Sound Navigator in Chapter 2: Operations. 



PRESET NRME 
000 1 syn: P10 



Vintage Keys provides a 4 layer instrument structure. Each layer is a 
complete synthesizer voice with 50 filter types, over 64 modulation sources, 
more than 64 modulation destinations and 24 patchcords to connect every- 
thing together. In addition, the four layers can be crossfaded or switched by 
key position, velocity or any real-time modulation source. 



Layer 1 




Layer 2 




Layer 3 




>R 



>l 



>R 



>l 



>R 



>*L 



Layer 4 



Instrument Z-Plane Filter 



Y*\ 




^►R 



^►L 



130 E-MU Systems 



Preset Edit Menu 
Selecting Layers 



Selecting Layers 



In most of the Preset Edit screens, the selected layer is shown in the upper 
left corner of the display. Layers 1-4 or All can be selected by positioning 
the cursor on this field and using the data entry control to change the layer. 
In the screen shown below, Layer 1 is selected. 



L1 INSTRUMENT 
0088 str: M12 Strings 



R0M:VR0M 



When "All Layers" (A) is selected, the existing parameter value for any field 
will be displayed if all layers are equal. If the layer parameter values are 
NOT equal, the value of Layer 1 will be displayed with flashing characters. 
If you move the data entry control all values will be equal to this new value 
and the parameter value will no longer flash. 



Vintage Keys Operation Manual 131 



Preset Edit Menu 
Selecting an Instrument 



Defining Layer 
Parameters 



Selecting an 
Instrument 



The Preset Edit menu parameters define the four layers and include the 
instrument assigned to the layer, the ranges of the layer, tuning, envelopes, 
niters, and patch cords. These parameters are defined for each layer on an 
individual basis (based on the currently selected layer). See "Common 
Preset Parameters" on page 161 for global preset settings. 

The Instrument parameter defines which of the available instrument 
sounds is played by the current layer. 



ROM SIMM Name 



L1 INSTRUMENT ROM: VROM 

0078 bas : FM Polybass 

f 



*r 



Instrument Category Instrument Name 



To select an instrument for the selected layer(s), move the cursor to the 
bottom line of the display and change the instrument using the data entry 
control. 



Sound Navigator 

Sound Navigator also works to help select Instruments although the 
category names are predefined. When the cursor is on the Instrument 
Category field, turning the data entry control selects different instrument 
categories. The Name Field will change to show the first instrument in each 
category. Move the cursor to the instrument name to select instruments in 
the selected category. 



L1 INSTRUMENT 



ROM: VROM 



0078 bas : FM Polybass 
= V 



T 



1. Choose Category x 

2. Scroll through Instruments 

Selecting Categories of Instruments using Sound Navigator. 



132 E-MU Systems 



Preset Edit Menu 
Defining Key Range 



Defining Key Range 



The Key parameter defines the range on the keyboard used by the current 
layer. The Key range is from C-2 through G8. 



Middle C 

i 

i 
C-2 C-1 CO CI C2 C3 C4 CS C6 C7 C8 G8 





To define the range, set the low key value and the high key value. 

You can select key numbers by simply pressing the desired keyboard key 
when the cursor is positioned on the low or high key field in the display. 



Fade In 



Fade Out 



LI 



KEY: 



LD 
C-2 



FRDE 
000 



HIGH 
C2 



FRDE 
012 



Layers can be crossfaded according to key position by adjusting the Low 
and High Fade parameters. The first Fade field determines how many 
semitones it takes the layer to Fade In from the low key. The second Fade 
field determines how many semitones it takes the layer to Fade Out to the 
high key. The screen shot above and the diagram below show Layer 1 being 
faded out over a one octave range. 



C-2 



C8 G8 




Layer 4 



With a High Fade value of zero (as in layer 3 of the diagram), the layer 
simply switches off at the high key. 



Vintage Keys Operation Manual 133 



Preset Edit Menu 
Defining Key Range 



^ 



You can select key 
numbers by simply pressing the 
desired keyboard key when the 
cursor is positioned on the low 
or high key field n the display. 



► To Switch Layers According to Key Position: 

The Key Range parameter allows you to create a "split" keyboard with up to 
four sounds adjacent to each other on the keyboard. This is shown in the 
diagram below. 



CO 

I 



CI 

I 



C2 



C3 

I 



C4 



C5 

I 



C6 

I 



Layer 1 



Layer 2 



Layer 3 



Layer 4 



Switch 



Switch 



Switch 



Just assign the low and high key range for each of the four layers with Fade 
set to zero. Set the Low and High Keys so they don't overlap other layers. 





L1 KEY: 


LO 

co 


FRDE 
000 


HIGH 
F1 


FRDE 
000 






L2 KEY: 


LO 
F#l 


FRDE 
000 


HIGH 
C3 


FRDE 
000 






L3 KEY: 


LO 
C#3 


FRDE 
000 


HIGH 
F#M 


FRDE 
000 






LM KEY: 


LO 
GM 


FRDE 
000 


HIGH 
C6 


FRDE 
000 





If two layers do overlap, both will play as shown in the next example. 



134 E-MU Systems 



Preset Edit Menu 
Defining the Velocity Crossfade Range 



Defining the Velocity 
Crossfade Range 



► To Stack Layers: 

If the ranges of two or more Layers overlap it is called stacking layers. All 
Layers assigned to a key sound when the key is played. This is shown in the 
following diagram. It's very easy to stack layers. Simply duplicate the key 
ranges for any layers you want to stack. 



CO 

I 



CI 

I 



C2 

l 



C3 

l 



C4 



C5 

I 



C6 

l 





Layer 1 
Layer 2 



LI 



KEY: LO 
CO 



FRDE 
000 



HIGH 
C6 



FRDE 
000 



L2 KEY: LO FRDE HIGH FRDE 
CO 000 C6 000 



Velocity is a measure of how hard the key is pressed. Velocity Range lets you 
control the volume of the layers using velocity. Using this function you can 
crossfade or cross-switch between layers according to how hard you play 
the keyboard. 

Set the velocity range of the layer by defining the high and low velocity 
values. Values range from (off) to 127 (hardest). 



I? 



VEL: 



LO 
36 



FRDE 
012 



HIGH 
96 



FRDE 
012 



Vintage Keys Operation Manual 135 



Preset Edit Menu 
Defining the Velocity Crossfade Range 



The Fade fields define the velocity crossfade range for the currently selected 
layer. The first Fade field defines the Fade In range for the low velocity 
value. The second defines the Fade Out range for the high velocity value. 



Velocity 



127 




Switch 



With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and 
Layer 2 fades in. When the keyboard is played hard, Layer 3 plays. 



► To Set Up a Velocity Crossfade Between Layers: 

Set the velocity fades so that layer 1 fades out with higher key velocity 
while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. 
You may want to adjust the fade in and fade out points to achieve a natural 
sounding crossfade. These parameters vary depending on the sounds. 



Increasing Velocity 




127 



Layer 1 



LI 



VEL: LO 
000 



FRDE 
000 



HIGH 
127 



FRDE 
127 




136 E-MU Systems 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



Defining the 
Real-time Crossfade 
Range 



The Real-time Crossfade window lets you control the volume of the four 
layers using a real-time controller such as a front panel knob, a pedal or an 
LFO or Envelope generator. The controller is defined by the Patchcord 
parameter (see "Patchcords" on page 157). 

The Fade fields define the crossfade range in velocity for the currently 
selected layer. The first Fade field defines the Fade In amount for the low 
Real-time Control value. The second defines the Fade Out amount for the 
high Real-time Control value. The Fade value range is from to 127. 



Realtime Control Value 



127 



Layer 1 



Layer 2 Layer 3 



Layer 4 



Fade 



Fade 



Switch 



After the Ranges and Fades have been adjusted for each layer in the Real- 
time Crossfade screen, you must assign a real-time controller to RTXfade 
(Real-time Crossfade) on each Layer in the Patchcord screen. Set the 
Patchcord Amounts to +100. 



► To Set Up a Real-time Crossfade Between Two Layers: 

As the real-time control (knob, pedal, LFO, etc.) is increased, Layer 1 fades 
out as Layer 2 fades in. This example only uses two of the possible four 
layers. Refer to the screen diagrams below. 





L1 RT: LO 
000 


FRDE 
000 


HIGH 
127 


FRDE 
127 








L2 RT: L0 
000 


FRDE 
127 


HIGH 
127 


FRDE 
000 





1 . Select a preset. 

2. Press the Preset Edit button to access the Preset Edit menu. 

3. Go to the Instrument page and select instruments for Layers 1 and 2. 



Vintage Keys Operation Manual 137 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



4. Press Enter, then use the data entry control to advance to the Real-time 
Crossfade page. 

5. Define the High and Low range of each Layer. In this example the entire 
range of 0-127 is used. 

6. Define the Fades for each Layer. This is just an initial setting. The Range 
and Fade parameters may have to be adjusted later to get a smooth 
crossfade. 

7. Press Home/Enter and use the data entry control to advance to the 
Patchcord page. Select Layer 1 . 

8. Select the modulation source for the crossfade (knob, pedal, LFO, 
Envelope) and set the destination to RTXfade. Set the Cord Amount to 
+100. 

9. Select Layer 2. Select the same source and destination for the crossfade 
and set the Cord Amount to +127. 



L1 PRTCHCORD 

MidiR -> RTXfade 



#01 
+100 



10. Play the keyboard while adjusting the real-time controller. Go back to 
the Real-time Crossfade screens to fine tune the crossfade if necessary. 
Decreasing the fade size will narrow the region where both layers are 
sounding. 



► To Randomly Cross-Switch Between Four Layers: 

In certain situations, you may want to switch between several layers 
randomly. Crossfade Random is a modulation source specifically designed 
to handle this situation. Unlike the other random sources, Crossfade 
Random generates one random number for all layers each time a key is 
pressed. 

To set up a four layer Cross-Switch, simply assign each of the four layers to 
a different Real-time Crossfade range, then assign XfdRnd to RTXfade in 
the Patchcords for each layer. 



Realtime Control Value 





Switch 



48 


64 


80 96 


112 


127 


ayer 2 




Layer 3 


Layer 4 






Switch 


Switch 







138 E-MU Systems 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



1 . Press the Preset Edit button to access the Preset Edit menu. 

2. Go to the Instrument screen and select Instruments for Layers 1 
through 4. 

3. Press Enter, then use the data entry control to advance to the Real-time 
Crossfade page. 





LI 


RT: 


LO 
000 


FRDE 
000 


HIGH 
031 


FRDE 
000 








L2 


RT: 


LO 
032 


FRDE 
000 


HIGH 
063 


FRDE 
000 








L3 


RT: 


LO 
064 


FRDE 
000 


HIGH 
095 


FRDE 
000 








LM 


RT: 


LO 
096 


FRDE 
000 


HIGH 
127 


FRDE 
000 





4. Define the High and Low range of each Layer as shown above. 

5. Press Home/Enter and use the data entry control to advance to the 
Patchcord page. Select Layer 1. 

6. Select XfdRnd as the modulation source and RTXfade as the desti- 
nation. Set the Cord Amount to +100. 

7. Repeat step 6 for the remaining three layers. 



Vintage Keys Operation Manual 139 



Preset Edit Menu 
Transposing the Instrument 



Transposing the 
Instrument 



L1 PRTCHCORD 
XfdRand -> RTXfade 



#01 
+100 



8. That's it! Now set each Layer up the way you want. Try radically 

different instruments, filter settings, or tunings. Or you can make each 
layer just slightly different for a more natural effect. Try adjusting the 
Fades or overlapping the ranges if you want more than one layer to play 
at once. 



The Transpose parameter lets you transpose the key of the current layer's 
Instrument. Transpose works by shifting the keyboard position in semitone 
intervals relative to middle C. Use this parameter to transpose different 
layers apart by semitone intervals. For example, by transposing one layer by 
+7 semitones, it will track other layers at a perfect fifth interval. 



C-2 



c-i 



CO 



ci 



C2 



C3 



C4 



C5 



C6 



C7 



C8 G8 



The range of transposition is -36 to +36 semitones. 



L1 JRRNSPOSE 
+36 semitones 



140 E-MU Systems 



Preset Edit Menu 
Tuning 



Tuning 



The Tuning parameter changes the pitch of the key in semitone and 1/64 
semitone intervals. 



L1 TUNING 
Coarse: +36 



Fine: 



+63 



Use the Coarse field to shift the tuning by semitone intervals. Use the Fine 
field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. 



Background: Transpose vs. Coarse Tuning 

Transpose works by shifting the keyboard assignment of the Instrument (as 
if you were sliding the keyboard up and down with the Instrument 
remaining in the same position). Coarse Tuning keeps the instrument 
placement on the keyboard and actually tunes the samples up using a 
digital process called interpolation. Use Course Tuning on drum instru- 
ments to change the pitch while keeping sample placement constant. 
Coarse Tuning can also be useful to slightly change the timbre of the 
instrument. 



Amplifier 



This parameter sets the initial volume and pan position of the current layer. 
These values can be changed using any Real-time Controller set up in the 
Patchcords. The value range for the volume is from -96 dB to +10 dB. dB 
is the default setting. Routinely turning the volume up to +10 dB is not 
recommended because it doesn't allow other modulation sources to 
increase the volume further. 



L1 RMPLIFIER 
Volume: +10dB 



Pan: M8l 



This field determines the initial Pan value for the current layer. The value 
range for Pan is from 64L to (left) and to 63R (right). Pan adjusts the 
volume into the left and right output channels relative to the Pan setting in 
the main Preset Select screen (see "Channel Pan" on page 39). So, if you, for 
example, set the Pan value in the Preset Select screen to 64L and set this 
Pan value to 63R, the actual pan amount would be as these two pan 
parameters are relative to each other. 



Vintage Keys Operation Manual 141 



Preset Edit Menu 
Volume Envelope 



Volume Envelope 



\ 



Factory Mode is useful 
for Instruments containing 
multiple drums, since each drum 
can have its own envelope 
settings. 

A factory drum kit envelope 
actually contains a separate 
envelope for every voice on every 
key instead of a single global 
envelope. 



&6 

If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to work. 



An envelope can be described as a "contour" which is used to shape the 
sound over time. The Volume Envelope controls the volume of the sound in 
the current layer over time. The way the volume of a sound evolves has a 
profound effect on how we perceive the sound. 

Each instrument has its own Factory preset Volume Envelope setting. The 
Volume Envelope allows you to program your own envelope settings. 



Selecting the Mode 

The Mode field determines whether the layer will use the instrument's 
default envelope (Factory) or use the user-programmed Volume Envelope. 
There are three mode options and repeat. 

• Factory: Uses the factory preset envelope contained in each instrument. 
If you select the "Factory" mode, the Volume Envelope parameters are 
disabled and the factory defined settings are used instead. 



L1 VOLUME ENVELOPE 
Mode: factory 



• Time-based: Defines the Volume Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 

• Tempo-based: The Volume Envelope times vary based on the master 
tempo setting. Note values are displayed instead of a number when the 
time corresponds to an exact note value. Tempo-based envelopes are 
useful when using external sequencers and arpeggiators because the 
envelope rates compress and expand according to the Master Tempo set- 
ting, keeping the envelopes in sync with the sequence or arpeggio. 



Tempo-Based Envelopes 




■ = Initial Setting 

= Increase Master Tempo 

■ = Decrease Master Tempo 

Tempo-based envelope rates change according to the Master Tempo rate. 



142 E-MU Systems 



Preset Edit Menu 
Volume Envelope 



S*> 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



&6 

If the Release 2 level is set 
at a value other than zero, the 
note will continue to sound after 
the key is released. This might be 
useful for drone effects, but the 
channel won't stop sounding 
until all channels are used up. 



Defining the Volume Envelope 

The Volume Envelope controls the volume of the layer over time. The 
Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, 
Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes 
through the first four stages. If you continue to hold down the key the 
envelope holds at the Decay 2 level. When the key is released, the envelope 
continues through the Release stages ending at the Release 2 level. 



L1 VOLENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



As soon as the Attack 1 level is reached, the Attack 2 phase begins. When 
the Attack 2 Level is reached, the Decay 1 phase begins. When the key is 
released, the envelope immediately jumps to the Release 1 stage, then the 
Release 2 stage finally ending at the Release 2 level. 

If you have selected the factory mode, the Volume Envelope parameter 
screen looks like the following illustration. 



L1 VOLENV RRTE 

(using factory envelope) 



LEVEL 




Key 
Down 



Key 
Released 



On the Volume Envelope, levels can only be set to positive values. 
The value range is from to +100. 



Vintage Keys Operation Manual 143 



Preset Edit Menu 
Chorusing the Layer 



Chorusing the Layer 



&6 

^^ WARNING: Because it 

works by doubling instruments, 
Chorusing halves the number of 
notes you can play. 



Sound Start Offset 
and Delay 



Chorusing "thickens" the sound by doubling the sound in stereo and then 
detuning it. Every layer with chorus turned on uses twice the polyphony 
for that layer. 



L1 CHORUS 
off 



WIDTH 
100% 



The first field in this screen turns Chorus On or Off and allows you to adjust 
the amount of detuning (1 to 100%). The Width parameter controls the 
stereo spread. 0% reduces the chorus to mono and 100% provides the most 
stereo separation. 



Sound Start sets where the instrument begins playing when you hit a key. 
Setting the Start Offset amount to "0" plays the sample from the beginning. 
Higher values move the Sample Start Point further into the sample toward 
the end. There is also a Patchcord source which can be used to change the 
Sound Start point at note-on time. 



L1 SOUND 



STRRT 
127 



DELRY 
127 




Controlling the Sound Start using Key Velocity (< Amt -) brings in the attack of the wave 
only when you play hard. This is especially effective with percussion instruments. 

Delay defines the time between when you hit a key (note-on) and the onset 
of the current layer's note and the start of the envelopes (if applicable). 
Delay values below zero are Tempo-based values, meaning the time is based 
on the Master Tempo setting. Note values are displayed by adjusting the 
Delay Time value below zero. The sound will be delayed by the selected 
note value based on the master clock. 



144 E-MU Systems 



Preset Edit Menu 
Non-Transpose Mode 



Non-Transpose 
Mode 



Solo Mode 



X 



In order to define a 
monophonic glide (see the 
Portamento parameter), you 
must be in Solo mode. 



This function turns keyboard transposition On or Off for the current layer. 
With Nontranspose "on," the keyboard will not control the pitch of the 
instrument. This is a useful function for drones, attack "chiffs," or other 
sound effects which you may not want to track the keyboard. 



L1 N0NTRRN5P05E 
off 



Provides the playing action of a monophonic instrument such as a lead 
synthesizer by preventing more than one note from sounding at once. 
There are eight different solo modes provided. Try setting up different 
layers with different solo mode and glide rates or combine solo mode with 
polyphonic playing modes. 



L1 SOLO MODE 
synth (low) 



The Solo modes are: 

Multiple Trigger: Last note priority. No key-up action. Retriggers 
envelopes and samples when a key is pressed. 

Melody (last): Last note priority. No key-up action. 

First solo note: Envelopes start at Attack segment from zero. Samples 
start at the beginning. 

If previous note is releasing: Envelopes start at Attack segment, but from 
current level. Samples start at the beginning. 

When playing "Legato": Envelopes continue from current segment and 
level. Samples start at the loop or the beginning if unlooped. 

Melody (low): Same as Melody (last), but with low note priority. Newly 
played keys which are higher than the lowest solo key held do not sound. 

Melody (high): Same as Melody (last), but with high note priority. Newly 
played keys which are lower than the highest solo key held do not sound. 

Synth (last): Similar to Melody (last) but this mode has key-up action. 
When you release the currently sounding solo key while holding other keys 
down, the highest held solo key sounds in a Legato fashion. 



Vintage Keys Operation Manual 145 



Preset Edit Menu 
Assign Group 



Assign Group 



Synth (low): Same as Synth (last) but with low note priority When you 
release the currently sounding solo key while holding other keys down, the 
lowest held solo key sounds in a Legato fashion (MiniMoog). 

Synth (high): Same as Synth (last) but with high note priority When you 
release the currently sounding solo key while holding other keys down, the 
highest held solo key sounds in a Legato fashion. 

Fingered Glide: Same as Synth (last), except that Glide is disabled when 
playing Staccato, enabled when playing Legato. 

Use the Assign Group parameter to assign a certain number of channels to 
each layer. By assigning all voices in the preset to assign groups, important 
parts are protected from being "stolen" by more recently played keys. Or 
you can assign a voice, such as an open high hat, to a mono channel so it is 
cancelled by a closed high hat on the same mono channel. Layers rotate 
within their assigned "bin" of channels, not interfering with other bins. 




The modes are: 

Poly All: Notes are played polyphonically with dynamic channel 
assignment using all 64 channels. 

Poly 16 A-B: Two bins of 16 channels each. Notes are played polyphoni- 
cally with dynamic channel assignment using no more than 16 channels. 

Poly 8 A-D: Four bins of 8 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 8 channels each. 

Poly 4 A-D: Four bins of 4 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 4 channels each. 

Poly 2 A-D: Four bins of 2 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 2 channels each. 

Mono A-l: Nine monophonic channels. Any layers assigned to the same 
letter interrupt each other without affecting other layers. 



146 E-MU Systems 



Preset Edit Menu 
Glide 



Glide 



X 



Glide is available as a 
modulation source in the 
Patchcords section. 



Glide creates a smooth transition from one note to the next instead of the 
normal instantaneous change in pitch when a new key is pressed. This 
effect is commonly heard on slide guitars, synthesizers and violins. 



L1 GLIDE RRTE 
0.000 sec/oct 



CURVE 
linear 



The front panel Glide Button LED comes on when the any layer of the 
current preset has a glide rate greater than 0.000 seconds (regardless of if a 
Patchcord is connected or not). Pressing the button turns the LED and 
glide off. Pressing the front panel glide button when all layers are set to a 
glide of 0.000 turns glide on with a rate of 0.142 seconds/octave. 

The Glide Rate parameter defines the time it takes to glide to the new pitch 
(the larger the value, the slower the glide rate) The glide rate value range is 
from through 32.738 seconds (zero means off). 

The Glide Curve describes how the glide accelerates as it slides between 
notes. Because of the ear's non-linear response to pitch, a linear glide 
sounds slow at the beginning and speeds up toward the end. Exponential 
curves actually sound smoother and more linear. Eight exponential curves 
are provided. Choose one that suits your style. 




Last 


New 


Last 


New 


Last 


New 


Note 


Note 


Note 


Note 


Note 


Note 



Glide can be either polyphonic or monophonic depending of the state of 
Solo Mode. 



► To Set up a Glide Rate Knob: 

1. Set at least one layer to the minimum setting of 0.002 sec/oct. (This 
forces the Glide LED to come on.) 

2. Connect the MIDI controller of your choice to Glide Rate on the layers 
you'd like to glide. Adjust the Cord Amount for the desired range. 

3. Disconnect the MIDI controller from whatever else it was connected to 
before you started mucking about. 

4. The Glide button turns Glide on/off and the knob controls the rate. 



Vintage Keys Operation Manual 147 



Preset Edit Menu 
Z-Plane Filters 



Z- Plane Filters 



Vintage Keys Filter 
Types 



Filter Types 

LPF Low-pass filter 

PHA Phaser 

HPF High-pass filter 

FLG Flanger 

BPF Band-pass filter 

VOW Vowel/ formant 

EQ+ EQ boost 

EQ- EQ cut 

SFX Special Effect 



A filter is a device which changes the output of a signal (sound) by 
removing certain elements of the signal based on the frequency and 
amplitude. The "Order" of a filter defines the number of filter elements it 
contains. The more elements, the more complex the filter. 

Vintage Keys contains 50 different types of E-MU's celebrated Z-plane 
filters. In addition to the standard Low pass, High pass and Band pass niters, 
Vintage Keys contains Swept Octave Equalizers, Phasers, Flangers, Vocal 
Formant Filters, and digital models of classic synthesizer filters. 

In the filter chart below you will notice that the "Order" of the filters varies 
from 2 to 12 order. Higher order filters have more sections and can produce 
more complex formants. Vintage Keys can produce 128 filters of up to 6th 
order or 64 niters of 12th order complexity. Therefore, if you decided to use 
all 12th order niters, Vintage Keys would be limited to 64 voices. 

This screen allows you to choose the type of filter for the current layer. 



L1 FILTER 
Phazer 2 EM 



Ord 
6 



Type 
PHR 



Filter Name 


Order 


Type 


Smooth 


02 


LPF 


Classic 


04 


LPF 


Steeper 


06 


LPF 


MegaSweepz 


12 


LPF 


EarlyRizer 


12 


LPF 


Millennium 


12 


LPF 


KlubKlassik 


12 


LPF 


BassBox-303 


12 


LPF 


Shallow 


02 


HPF 


Deeper 


04 


HPF 


Band-pass 1 


02 


BPF 


Band-pass2 


04 


BPF 



Description 

Lypical OB type low-pass filter with a shallow 
12 dB/octave slope. 

4-pole low-pass filter, the standard filter on 
classic analog synths. 24 dB/octave rolloff. 

6-pole low-pass filter which has a steeper slope 
than a 4-pole low-pass filter. 
36 dB/octave rolloff! 

"Loud" LPF with a hard Q. Lweeters beware! 

Classic analog sweeping with hot Q and 
Lo-end. 

Aggressive low-pass filter. Q gives you a 
variety of spiky tonal peaks. 

Responsive low-pass filter sweep with a wide 
spectrum of Q sounds 

Pumped up lows with TB-like squelchy Q 
factor. 

2-pole high-pass filter. 12 dB/octave slope. 

Classic 4-pole high-pass filter. Cutoff sweep 
progressively cuts 4th Order High-pass. 

Band-pass filter with 6 dB/octave rolloff on 
either side of the passband and Q control. 

Band-pass filter with 12 dB/octave rolloff on 
either side of the passband and Q control. 



148 E-MU Systems 



Preset Edit Menu 
Vintage Keys Filter Types 



Filter Name 


Order 


Type 


ContraBand 


06 


BPF 


Swept l>loct 


06 


EQ+ 


Swept2>loct 


06 


EQ+ 



Swept3>loct 06 



Ooh-To-Aah 



06 



EQ+ 



DJAlkaline 


12 


EQ+ 


AceOfBass 


12 


EQ+ 


TB-OrNot-TB 


12 


EQ+ 


BolandBass 


12 


EQ+ 


BassTracer 


12 


EQ+ 


RogueHertz 


12 


EQ+ 


RazorBlades 


12 


EQ- 


RadioCraze 


12 


EQ- 


AahAyEeh 


06 


VOW 



VOW 



MultiQVox 


12 


VOW 


Ooh-To-Eee 


12 


VOW 


TalkingHedz 


12 


VOW 


Eeh-To-Aah 


12 


VOW 


UbuOrator 


12 


VOW 


DeepBouche 


12 


vow 


PhazeShiftl 


06 


PHA 



Description 

A novel band-pass filter where the frequency 
peaks and dips midway in the frequency range. 

Parametric filter with 24 dB of boost or cut and 
a one octave bandwidth. 

Parametric filter with 24 dB of boost or cut. The 
bandwidth of the filter is two octaves wide at 
the low end of the audio spectrum, gradually 
changing to one octave wide at the upper end. 

Parametric filter with 24 dB of boost or cut. The 
bandwidth of the filter is three octaves wide at 
the low end of the audio spectrum, gradually 
changing to one octave wide at the upper end. 

Band accentuating filter, Q shifts "ring" 
frequency. 

Bass-boost to bass-cut morph 

Great Bassline "Processor." 

Constant bass boost with mid-tone Q 
control. 

Low Q boosts bass. Try sawtooth or square 
waveform with Q set to 115. 

Bass with mid-range boost and smooth Q. 
Sweep cutoff with Q at 127. 

Cuts a series of frequency bands. 
Q selects different bands. 

Band limited for a cheap radio-like EQ 

Vowel formant filter which sweeps from "Ah" 
sound, through "Ay" sound to "Ee" sound at 
maximum frequency setting. Q 
varies the apparent size of the mouth cavity. 

Vowel formant filter which sweeps from "Oo" 
sound, through "Oh" sound to "Ah" sound at 
maximum frequency setting. 
Q varies the apparent size of mouth cavity. 

Multi-Formant, Map Q To velocity. 

Oooh to Eeee formant morph. 

"Oui" morphing filter. Q adds peaks. 

"E" to "Ah" formant movement. 
Q accentuates "peakiness." 

Aah-Uuh vowel with no Q. Raise Q for throaty 
vocals. 

French vowels! "Ou-Est" vowel at low Q. 

Recreates a comb filter effect typical of phase 
shifters. Frequency moves position of notches. 
Q varies the depth of the notches. 



Vintage Keys Operation Manual 149 



Preset Edit Menu 
Vintage Keys Filter Types 



Description 

Comb filter with slightly different notch 
frequency moving the frequency of notches. 
Q varies the depth of the notches. 

Phasey movement. Try major 6 interval and 
maximum Q. 

Accentuates harmonics at high Q. 
Try with a sawtooth LFO. 

Contains three notches. Frequency moves fre- 
quency and spacing of notches. 
Q increases flanging depth. 

Smooth sweep flanger. Good with vox waves, 
eg. 1094, Q =60 

Directional Flanger. Poles shift down at low Q 
and up at high Q. 

Filter inverts at mid-Q. 

Permanent "Ringy" Q response. 
Many Q variations. 

High resonance nasal filter. 

Great analog Q response. Wide tonal range. Try 
with a sawtooth LFO. 

Low boost for basslines. Q goes to 
distortion at the maximum level. 

Violent mid Q filter! Take care with Q 
values 40-90. 

Highly resonant harmonic peaks shift in 
unison. Try mid Q. 

Midway between wah & vowel. Strong 
mid-boost. Nasty at high Q settings. 

Nasty clipped distortion. Q functions as 
mid-frequency tone control. 

Bat phaser from the Emulator 4. 

Ringing Flange filter. Q "tunes" the ring 
frequency. 



Filter Parameters 

The Freq and Q parameters control various elements of the filter depending 
on the type of filter used. See the table in the Filter Types section for details 
about what the Freq and Q fields control in each filter. 



Filter Name 


Order 


Type 


PhazeShift2 


06 


PHA 


FreakShifta 


12 


PHA 


CruzPusher 


12 


PHA 


FlangerLite 


06 


FLG 


AngelzHairz 


12 


FLG 


DreamWeava 


12 


FLG 


MeatyGizmo 


12 


REZ 


DeadRinger 


12 


REZ 


ZoomPeaks 


12 


REZ 


AcidRavage 


12 


REZ 


BassOMatic 


12 


REZ 


LucifersQ 


12 


REZ 


ToothComb 


12 


REZ 


EarBender 


12 


WAH 


FuzziFace 


12 


DST 


BlissBatz 


06 


SFX 


KlangKling 


12 


SFX 



L1 FILTER 
Freq: 255 



Q: 019 



150 E-MU Systems 



Filter Envelope 



Preset Edit Menu 
Filter Envelope 



The Filter Envelope is normally used to control the filter frequency and has 
six stages. Unlike the Volume Envelope, the Filter Envelope must be 
patched to the Filter Frequency using a Patchcord. In this respect, it can be 
thought of as a general purpose envelope generator which is normally 
patched to control the filter. The Filter Envelope Levels can be negative as 
well as positive. 

There are three mode options: 

• Time-based: Defines the Filter Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 



L1 FILTENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



• Tempo-based: The Filter Envelope times vary based on the master tempo 
setting and are displayed in values such as 1, 2, 3, etc. Note values are 
displayed instead of a number when the time corresponds to an exact 
note value. Tempo-based envelopes are useful when using arpeggiators 
and sequencers because the envelope rates compress and expand accord- 
ing to the Master Tempo setting, keeping the envelopes in sync with the 
music. See the illustration on page 104. 



L1 FILTENV 
Rttack 1 



RRTE 
1/M 



LEVEL 
100% 



• Envelope Repeat: The Envelope Generators can also be made to repeat. 
When the envelope repeat function is On, the Attack (1&2) and Decay 
(1&2) stages will continue to repeat as long as the key is held. As soon as 
the key is released, the envelope continues through its normal Release 
stages (1 & 2). For more information see page 104. 

► To Turn on Envelope Repeat: 

1. Move the cursor until it is underneath the Mode field as shown below. 



Ll FILTER ENVELOPE 
Mode: time-based 



2. Turn the data entry control clockwise. The lower line changes to: 



Vintage Keys Operation Manual 151 



Preset Edit Menu 
Auxiliary Envelope 



S*> 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



% 



The default Patchcord 
settings connect the Filter 
Envelope to Filter Frequency but 
the envelope can be routed to 
any real-time control destination 
using a Patchcord. 



Auxiliary Envelope 



L1 FILTER ENVELOPE 
Repeat: off 



3. Move the cursor underneath the on/off field, then turn the data entry 
control clockwise so that Repeat is On. 



Defining the Filter Envelope 

The Filter Envelope controls the filter frequency of the layer over time. The 
Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, 
Release 1 and Release 2. When a key is pressed, the Envelope goes through 
the first four stages. If the key continues to be held, the envelope holds at 
the Decay 2 level. When the key is released, the envelope immediately 
jumps to the Release 1 stage, then the Release 2 stage finally ending at the 
Release 2 level. 



+100 



Sustain 




-100 

Key Down 



Key Released 



The Auxiliary Envelope is a supplementary general purpose envelope that 
can be routed to any real-time control destination in the Patchcords. It is 
identical to the filter envelope generator. See "Filter Envelope" on page 151 
for full details. 



152 E-MU Systems 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



Low Frequency 
Oscillators (LFOs) 



A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow 
speed. Vintage Keys has two LFOs per layer identified on the display as 
LFOl and LF02. 

An LFO can be routed to any real-time control destination using a 
Patchcord. LFOs have a myriad of uses, some of which probably haven't 
been thought of yet. The following examples show a few common uses. 

• Control the pitch of the sound (LFO -> Pitch). This effect is called 
"vibrato" and is an important performance tool. Many factory presets 
use this routing with the modulation wheel controlling "how much" 
modulation is applied. 

• Create a "tremolo" effect by routing the LFO to control the volume 
(LFO -> Amp Volume). 

• Add a bit of animation to the sound by routing the LFO to control the 
filter. Set the Patchcord amount low for a subtle effect. 

The LFOs have five parameters: Shape, Sync, Rate, Delay and Variation. 



Shape 

LFO waveforms have different shapes. The shape of the waveform deter- 
mines the effect of the LFO. LFOs have traditionally been used to add 
vibrato or repeating movement to a sound. These new shapes offer a lot of 
new programming possibilities. 



LI 



LF01 



5HRPE 
sawtooth 



SYNC 
key sync 



If you modulate the pitch of an instrument, it's easy to visualize the shape 
of the waveform. For example, the sine wave has a smooth, rolling shape 
that changes the pitch smoothly. The square waveform changes between 
two pitches abruptly. A sawtooth waveform increases the pitch smoothly, 
then abruptly changes back down. The available waveforms are shown 
below. 



Vintage Keys Operation Manual 153 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



LFO Tricks & Tips: 

• The Random LFO wave is truly 
random and is different for 
each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

~k When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



7^\ 7^ , 



LFO Synced to 1/4 Note Clock 



Random 



_n 



"-ai 



Ltmi 



Sine 




25% Pulse 



Pat: Octaves 

+ Octave 



- Octave 



Pat: Neener 



Sine + Noise 



Triangle 



Sawtooth 







Square 


33% Pulse 





















16% Pulse 



12% Pulse 



Pat: Fifth + Octave 

c, 



Pat: Sus4 trip 



J L 



f^t 



Sine 1,2 



Sine 1,3,5 





Hemi-quaver 



J X/\> ^pJ 



w 



Sync 

The Sync field specifies whether the LFO is synchronized to a key stroke or 
is Free Running. Key Sync starts the LFO wave at the beginning of its cycle 
each time you press a key on the controller. In Free Run mode, the LFO 
wave begins at a random point in its cycle each time you press a key on the 
controller. 



Rate 

The Rate field determines the LFO speed in absolute frequency rate values 
or tempo-based note values. All values equal to or greater than zero specify 
absolute frequency values from 0.08 Hz to 18.14 Hz. 



154 E-MU Systems 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



Values less than zero specify tempo-based rates. If you modulate the rate of 
a tempo-based LFO, the rates will jump between the tempo-based note 
values with each Patchcord increment of "1". As an example: if the LFO 
rate was set to 8/1 and you patched the Mod Wheel to control rate with a 
Patchcord amount of +1, turning the Mod Wheel to maximum would 
change the LFO rate to 4/ld. Refer to the chart below. 



LI 



LF01 



RRTE 
0.08Hz 



DELRY 
60 



VRR 
020 





Tempo-based Rates 
(based on Master Tempo) 


Display 


octal whole note 


8/1 


dotted quad whole note 


4/ld 


octal whole note triplet 


8/lt 


quad whole note 


4/1 


dotted double whole note 


2/ld 


quad whole note triplet 


4/lt 


double whole note 


2/1 


dotted whole note 


1/ld 


double note triplet 


2/lt 


whole note 


1/1 


dotted half note 


l/2d 


whole note triplet 


1/lt 


half note 


1/2 


dotted quarter note 


l/4d 


half note triplet 


l/2t 


quarter note 


1/4 


dotted 8th note 


l/8d 


quarter note triplet 


l/4t 


8th note 


1/8 


dotted 16th note 


l/16d 


8th note triplet 


l/8t 


16th note 


1/16 


dotted 32nd note 


l/32d 


16th note triplet 


l/16t 


32nd Note 


1/32 





Vintage Keys Operation Manual 155 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



&6 



Variation is disabled 
when a Tempo-Based LFO is 
selected. 



Delay 

The Delay parameter defines the amount of time between hitting a key on 
the controller and the onset of the LFO modulation. Delay can be used to 
simulate an effect often used by acoustic instrument players where the 
vibrato is brought in only after the initial note pitch is established. The 
following illustration demonstrates how delay works. 




All Delay values equal to or greater than zero specify absolute time rates 
from to 127. Values less than zero specify Tempo-based mode. Refer to the 
previous table for times and tempo-based rates. 



Variation 

LFO Variation sets the amount of random variation of the LFO each time 
you press a key on the controller. This creates a chorus or ensemble effect 
since each note played has a slightly different modulation rate. The higher 
the value entered, the greater the note to note variation in the LFO. 

The Variation value range is from through 100. 




LFO variation changes the rate of each note to create an "ensemble" effect. 



156 E-MU Systems 



Preset Edit Menu 
Patchcords 



Patchcords 



Patchcords tie everything together by connecting modulation sources to 
destinations. Each Patchcord has its own Amount control which can be 
positive or negative (negative amounts invert the signal). In addition, the 
Patchcord amounts themselves can be controlled by any modulation 
source. Vintage Keys provides 24 patches for each layer. 

There are three permanently connected control routings: volume envelope 
to amplifier, pitch wheel to pitch and key to pitch. All other connections 
must be made using the Patchcords. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 

LF0 2 

Amp Env 

Filt Env 

Aux Env 

Wheel 

Pressure 

etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



Each patch has an amount field which determines how much modulation 
is applied to the destination. The modulation amount can be positive or 
negative. Negative values invert the input. The amount value range is from 
-100 to +100. 



L1 PRTCHCORD 

RlsVel -> RmpVol 



#01 
+100 



L1 PRTCHCORD 

Key+ -> FiltRes 



#24 
-27 



Vintage Keys Operation Manual 157 



Preset Edit Menu 
Patchcords 



Value 




Modulator Polarity 

You will notice that some of the modulation sources have symbols 
following their names. For example, there are three Velocity modulation 
sources, Vel +, Vel +, and Vel <. 



Control 



+ modulation ADDS to the 
initial value. (Normal) 

± centers around Zero. 
(Use for LFOs, Filt. Freq.) 



< modulation SUBTRACTS 
from the initial value 



"+" Modulation: Uses only the positive half of the range, adding to the 
current value. For example, if the filter frequency were set to 100 and you 
patched Vel+ to the filter, the filter frequency would increase from 100 as 
velocity was applied. 

"+" Modulation: Uses both sides (full) range and both adding and 
subtracting from the current value. For example, if the filter frequency 
were set to 100 and you patched Vel + to the filter, the filter frequency 
would decrease from 100 with key velocities of 63 or less and increase from 
100 with key velocities of 64 and above. Therefore with medium velocity, 
the Filter frequency is approximately where you set it at 100. 

An LFO + works the same way; on the positive half of the cycle it increases 
the initial amount and on the negative half of the cycle it decreases the 
initial amount. With a + modulation source, a value of 64 equals 0. 

"<" Modulation: Uses only the negative half of the range, subtracting 
from the current value. For example, if the Amplifier Volume were set to 
+3 dB and you patched Vel < to Amp Vol, the volume would be at +3 dB 
only when maximum key velocity were applied. Lower key velocities would 
scale back the volume. In general, < modulation is the proper choice when 
modulating Volume. 



158 E-MU Systems 



Preset Edit Menu 
Patchcords 



Note: Flip-Flop Footswitches 
1 & 2 remain in their last 
condition when a new preset 
is selected. 

Flip-Flop Footswitch 3 resets 
to the Off condition whenever 
a new preset is selected. 



Note: The Envelope Sustain 
parameter controls the Decay 2 
Level segment of the envelope 
generator. 



Here is a list of all layer modulation sources and destinations. 



Modulation Sources: 

Off 

Key (+, +) 

Velocity (+, +, <) 

RlsVel (Release Velocity) 

Gate 

Pressure (Aftertouch) 

PitchWhl (Pitch Wheel) 

ModWhl (Modulation Wheel) 

Pedal 

MIDI Volume (Controller 7) 

MIDI Pan (Controller 10) 

MIDI Expression (Controller 11) 

MIDI A-P 

PLagOut (Preset Lag Out) 

PRampOut (Preset Ramp Out) 

FootSwl - 3 (Foot Switch 1-3) 

FootFF (Flip-Flop Foot Switch 1 -3) 

Key Glide 

VolEnv +, +, < (Volume Envelope) 

FilEnv +, +, < (Filter Envelope) 

AuxEnv +, +, < (Auxiliary Envelope) 

LFO 1 & 2 (+, +) 

White (White Noise) 

Pink (Pink Noise) 

XfdRand (Crossfade Random) 

KeyRand 1 & 2 (Key Random) 

Lag sum (summing amp out) 

Lag 1 sum (summing amp out) 

Lag & 1 (Lag Processor) 

Clk Divisors (Octal, Quad, Double 

Whole, Whole, Half, Qtr, 8th, 16th) 

DC (DC Offset) 

Summing Amp 

Switch 

Absolute Value 

Diode 

Flip-Flop 

Quantizer 

4x Gain 



Modulation Destinations 

Off 

KeySust (Key Sustain) 

FinePtch (Fine Pitch) 

Pitch 

Glide 

ChrsAmt (Chorus Amount) 

'SStart (Sample Start) -note-on) 

SLoop (Sample Loop) 

SRetrig (Sample Retrigger) 

FiltFreq (Filter Frequency) 

'FiltRes (Filter Resonance -note-on) 

Amp Vol (Amplifier Volume) 

AmpPan (Amplifier Pan) 

RTXfade (Real-time Crossfade) 

VEnvRts (Volume Envelope Rates -all) 

VEnvAtk (Volume Envelope Attack) 

VEnvDcy (Volume Envelope Decay) 

VEnvSus (Volume Envelope Sustain) 

VEnvRls (Volume Envelope Release) 

FEnvRts (Filter Envelope Rates -all) 

FEnvAtk (Filter Envelope Attack) 

FEnvDcy (Filter Envelope Decay) 

FEnvSus (Filter Envelope Sustain) 

FEnvRls (Filter Envelope Release) 

FEnvTrig (Filter Envelope Trigger) 

AEnvRts (Auxiliary Envelope Rates -all) 

AEnvAtk (Auxiliary Envelope Attack) 

AEnvDcy (Auxiliary Envelope Decay) 

AEnvSus (Auxiliary Envelope Sustain) 

AEnvRls (Auxiliary Envelope Release) 

AEnvTrig (Auxiliary Envelope Trigger) 

LFO 1 & 2 Rate 

LFO 1 & 2 Trigger 

Lag Processor In & 1 

Sum (Summing Amp) 

Switch 

Abs (Absolute Value) 

Diode 

Quantize 

Flip-Flop 

Gain 4x 

Cord 1-24 Amount 



Vintage Keys Operation Manual 159 



Preset Edit Menu 
Pitch Bend Range 



Pitch Bend Range 



Mix Output 



Specifies the Pitch Wheel range in semitones for the current layer. Pitch 
Wheel is a standard synthesizer control which is transmitted as a MIDI 
continuous controller message used (normally) to bend the pitch up and 
down. 

The PitchBend range is from to +12 semitones or "Master." A setting of 
"0" turns the pitch wheel Off for the current layer. The Master setting uses 
the Pitch Bend range denned in the Global menu. 



L1 PITCHBEND RRNGE 
+/- 12 semitones 



This feature allows you to program the Effect Send as a part of the preset. 
Note that for this feature to work, the Mix Output setting in the Global 
menu MUST be set to "Preset" on the selected MIDI channel. If you want to 
define output routing by MIDI channel, set it up using the Mix Output page 
in the Global menu. See "Mix Output" on page 86 for more information. 



L1 MIX OUTPUT 
5end2->main 

A 



FX Send 
Routing 



Output 
Routing 



The Sends function as effect processor inputs (effect sends). The Output 
Routing field shows the true routing of the Sends to the Main output. 

► To Control the Mix Output from the Preset: 

1. Move the cursor until it is underneath the Layer field and change the 
Layer using the data entry control. 

Move the cursor until it is underneath the FX Send Routing field and 
change the Send (1-4) using the data entry control. 

Locate the MIX OUTPUT screen in the Global menu. 

Set the MIDI channel you are using to "use preset". 



2. 

3. 
4. 



160 E-MU Systems 



Preset Edit Menu 



Common 

Preset 

Parameters 



Preset Effects 



This section of the Preset Edit menu chapter describes parameters that 
affect all layers in the preset. 



Vintage Keys has two stereo effects processors. When playing presets one at 
a time, the two processors can be programmed as part of the preset. The 
diagram below shows how the effects are integrated into the signal path 
using a parallel effects send/return model, similar to a mixing console. 



FX Send Amount 



Reverb, Delay 




Main 
Outs 



Chorus, Flange 



FX Send Amount 



Refer to the Effects chapter for additional information and instructions for 
setting up both the Preset Effects and the Master Effects. 



Vintage Keys Operation Manual 161 



Preset Edit Menu 
Preset Effects 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 




GLOBAL MENU 



The Mix Output setting in the Global Menu determines if the Preset's Mix 
Output routing will be used. This allows the Sends to be programmed by 
either MIDI Channel or by Preset, whichever you prefer. 



162 E-MU Systems 



Preset Edit Menu 
FXA Algorithm 



FXA Algorithm 



This screen selects the effect type for Effect Processor A. The "A" effects 
consist of different reverb types and digital delays. Move the cursor to the 
lower line of the display and select the effect you want. 



FXR RLGORITHM 
Lg Concert Pan 



A Effect Types 

1. Room 1 

2. Room 2 

3. Room 3 

4. Hall 1 

5. Hall 2 

6. Plate 

7. Delay 

8. Panning Delay 

9. Multitap 1 

10. Multitap Pan 

11. 3 Tap 

12. 3 Tap Pan 

13. Soft Room 

14. Warm Room 

15. Perfect Room 

16. Tiled Room 

17. Hard Plate 

18. Warm Hall 

19. Spacious Hall 

20. Bright Hall 

21. Bright Hall Pan 

22. Bright Plate 



23. BBall Court 

24. Gymnasium 

25. Cavern 

26. Concert 9 

27. Concert 10 Pan 

28. Reverse Gate 

29. Gate 2 

30. Gate Pan 

31. Concert 11 

32. Medium Concert 

33. Large Concert 

34. Large Concert Pan 

35. Canyon 

36. Delay Verb 1 

37. Delay Verb 2 

38. Delay Verb 3 

39. Delay Verb 4 Pan 

40. Delay Verb 5 Pan 

41. Delay Verb 6 

42. Delay Verb 7 

43. Delay Verb 8 

44. Delay Verb 9 



Vintage Keys Operation Manual 163 



Preset Edit Menu 
FXA Parameters 



FXA Parameters 



FXA Send Amounts 



FXB Algorithm 



The FXA parameters are Decay, High Frequency Damping, and the FxB to 
FxA send. Decay sets the length of time it takes an effect to fade out. HF 
Damping causes the high frequency energy to fade away more quickly 
during the reverb decay. FxB to FxA controls the amount of the "B" effect 
sent through effect "A". This allows you to place the two effects in series 
and create setups such as "distortion through reverb" among others. Please 
refer to the Effects chapter for more information about the effects. 



FXR DECRY HFDRMP FxB>FxR 
048 064 000 



These parameters set the effects amounts for each of the four stereo effects 
busses. 



FXR SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



This screen selects the effect type for Effect Processor A. Move the cursor to 
the lower line of the display and select the effect you want. 



FXB RLGORITHM 
Panning Delay 



B Effect Types 

1. Chorus 1 

2. Chorus 2 

3. Chorus 3 

4. Chorus 4 

5. Chorus 5 

6. Doubling 

7. Slapback 

8. Flange 1 

9. Flange 2 

10. Flange 3 

11. Flange 4 



12. Flange 5 

13. Flange 6 

14. Flange 7 

15. Big Chorus 

16. Symphonic 

17. Ensemble 

18. Delay 

19. Delay Stereo 

20. Delay Stereo 2 

21. Panning Delay 

22. Delay Chorus 



23. PanDelay Chorus 1 

24. PanDelay Chorus 2 

25. Dual Tap 1/3 

26. Dual Tap 1/4 

27. Vibrato 

28. Distortion 1 

29. Distortion 2 

30. Distorted Flange 

31. Distorted Chorus 

32. Distorted Double 



164 E-MU Systems 



Preset Edit Menu 
FXB Parameters 



FXB Parameters 



FXB Send Amounts 



Preset Patchcords 



effects. 



To crossfade between 



1 ) Set FXA Send 1 to 100%. 

2) Set FXB Send 1 to 0%. 

3) Set FX Cord # 1 to FXA Send 1 
at -WO. 

4) Set FX Cord #2 to FXB Send 1 
at +100. 

Increasing the controller amount 
will crossfade from FXA to FXB. 



The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the 
output of the effect back into the input. This creates multiple echoes on a 
delay effect and intensifies a chorus or flange effect. LFO Rate allows you to 
change the speed of the modulation oscillator for flange and chorus effects. 
Delay sets the length of the delay line. This affects the time between 
echoes, or the tone of flange effects. 



FXB FEEDBK 
032 



LFORRTE DELRY 
003 200ms 



These parameters set the effects amounts for the four stereo effects busses. 



FXB SEND RM0UNT5 
2: 50% 3: 10% 



1:100% 
M: 0% 



Preset Patchcords give you real-time control of global parameters. The 
effect processors are a powerful synthesis tool and this feature lets you 
control and use them in exciting new ways. For example, you can dynami- 
cally adjust the effects mix during a sequence or live performance. 

There are many exciting performance possibilities using Preset Patchcords 
to control Arpeggiator parameters and Effects Sends. The front panel knobs 
15 & 16 are usually connected to Arp parameters in factory presets marked 
"arp:" Be sure to try out these controls 

There are 12 Preset Patchcords per preset with a source, a destination and 
an amount control. The amount can be set from -100 to +100. The Preset 
Patchcord controls are added to the FX Send Amounts set in the Global or 
Preset Edit menus. In other words, multiple sources connected to destina- 
tions are summed. 



PRESET CORDS 

Pedal -> FXBSend2 



#01 
+100 



Vintage Keys Operation Manual 165 



Preset Edit Menu 
Preset Patchcords 



Modulation Sources: 

Off 

Pitch Whl (Pitch Wheel) 

ModWhl (Modulation Wheel) 

Pedal 

MIDI Volume (Controller 7) 

MIDI Pan (Controller 10) 

MIDI A-L 

Footswitch 1 

Flip-Flop Footswitch 1 

Footswitch 2 

Flip-Flop Footswitch 2 

Footswitch 3 

Flip-Flop Footswitch 3 

DC 



Modulation Destinations 

Off 

Effect A Send 1 

Effect A Send 2 

Effect A Send 3 

Effect A Send 4 

Effect B Send 1 

Effect B Send 2 

Effect B Send 3 

Effect B Send 4 

Preset Lag In 

Preset Lag Amount 

Preset Lag Rate 

Preset Ramp Rate 

Arp Resolution 

Arp Extension 

Arp Velocity 

Arp Gate 

Arp Interval 

Beats Velocity, Group 1-4 

Beats Transpose (Xps), Group 1-4 

Beats Busy 

Beats Variation 



166 E-MU Systems 



Preset Edit Menu 
Initial Controller Amount 



Initial Controller 
Amount 



This parameter sets the initial value of MIDI controllers A-P when the preset 
is first selected. The front panel Control Knobs can be thought of as front 
panel MIDI controllers because in the Vintage Keys, they are treated just as 
if they originated from an external MIDI device. Refer to the following 
diagram. There are 4 Initial Controller Amount screens (A-D, E-H, I-L, M-P). 



|~mipl> 



MIDI 
Menu 



MIDI 

^ 



64- Controller 

9 ; 5- A 



MIDI 



Controller 

9 : 5- B 



MIDI 



64- Controller 

A- c 



12 Control 
Knobs 







Preset Edit Patchcord Destinations 

Menu — 




A 61 





C 1/ 



Amount 



Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfade 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1-24 Amount 



FXASend 1-4 
FXBSend 1-4 
Preset Lag In 
Preset Lag Amount 
Preset RanipRate _ 



Preset 
Cords 



External MIDI controller numbers are assigned to the Letters A-P in the 
MIDI menu. The Initial Controller Amount value is sent to the Patchcord 
destination when the Preset is first selected. If you move the Control Knob ; 
then that value replaces the initial value. If MIDI controller data is received 
it will similarly replace the knob or initial setting. 



INITIRL CONTROLLER RMT 
R:017 B:112 C:127 



D: off 



The Initial controller amounts can be set from 000-127 or they can be 
turned Off. If set to Off, the current controller value is used when the preset 
is first selected. Setting the Initial Amount to "off" uses the values from the 
previously selected preset. 



Vintage Keys Operation Manual 167 



Preset Edit Menu 
Keyboard Tuning 



Keyboard Tuning 



In addition to the standard equally divided octave tuning, Vintage Keys 
contains twelve factory programmed tunings and 12 user-definable 
tunings. The Keyboard Tuning parameter selects which tuning is used by 
the current preset. The User Tuning tables are defined in the Global menu. 

The factory Keyboard Tuning tables are described in the following table. 



Tuning Tables 

Equal Temperament 

JustC 
Vallotti 

19-Tone 
Gamelan 

Just C2 
Just C-minor 
Just C3 
Werkmeister III 

Kirnberger 

Scarlatti 
Repeating Octave 

User 1-12 



Description 

Standard Western tuning 

(12 equally spaced notes per octave) 

Just intonation. (Based on small interval ratios. Sweet 
and pure, non-beating intervals.) 

Valotti & Young non-equal temperament. (Similar to 12 
tone equal temperament. Each key has a different 
character for a given scale.) 

19 tone equal temperament. (19 notes per octave. 
Difficult to play, but works well with a sequencer.) 

5 tone Slendro and 7 tone Pelog. (Javanese. Pelog are 
white keys, Slendro are black keys. Exotic tunings of 
Gamelan flavor. 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, C#m, D#m, Em, F#m, G#m, Am, Bm 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, Em, Am, Bm, C#m, D#m, G#m 

Allows you to play the following chords in the key of C: 
C, D, F, Bb, C#m, Dm, Em, F#m, G#m, Am 

A "well" temperament developed in the 1 7th century. 
Although you can play in all keys, each key sounds 
slightly different. 

Another well temperament developed by Johann 
Philipp Kirnberger where no pitch is more than 12 
cents off from equal temperament. 

A variant of Meantone tuning which was used from the 
15th to 18th centuries. 

Middle C octave is repeated up and down the keyboard. 
Link with a preset in equal temperament to form 
unusual inversion up and down the keyboard. 

Define your own tuning tables (Global menu). 



Refer to "User Key Tuning" on page 92 in the Global Menu chapter for 
instructions on how to define your own Keyboard Tunings. 



168 E-MU Systems 



Preset Edit Menu 
Keyboard Tuning 



^ 



Vintage Keys implements 
the MIDI Tuning Dump protocol 
which allows you to create 
tuning tables on your personal 
computer and download them 
via MIDI. There are several 
computer applications available 
on the internet which let you 
create and download tuning 
tables via MIDI. 



The Just C Tuning Tables 

Well Tempered and Just were standard keyboard tunings up until the 20th- 
century when the current "equal tempered" scale became prevalent. In an 
equal tempered scale, the octave is equally divided into 12 parts. In Just or 
Well Tempered scales, the 12 notes are separately tuned to produce pure 
chords. However, in Just tunings you are limited to playing certain chords 
and if you play the wrong chord it may sound very BAD! 

Vintage Keys allows you to modulate between keys by providing you 12 
user tuning tables. Tuning tables can be changed as you play using a 
program change (create several presets with the same sound and different 
tuning tables), by MIDI SysEx command (using a programmable MIDI 
footswitch or other device), or using a continuous controller (link 2 presets 
and crossfade between them using a controller). 

The Just C2, Just C min, Just C3 Tuning Tables 

These new tuning tables take the concept of just intonation a step beyond 
previous E-MU products. Fully explaining the mysteries of just intonation is 
beyond the scope of this manual, but the subject is covered exhaustively in 
Hermann Helmholtz's On the Sensations of Tone, available at most libraries 
and bookstores. 

The new tables are called Just C2, Just C3, and Just C Minor. Try playing in 
the key of C/Cm using each table. You'll quickly discover both the wonders 
and the frustrations of just intonation! In Just C, for example, you'll find 
that the chords C, Em, F, G, and Am sound beautiful. If you hold one of 
these chords, you'll hear no "beating". After playing for a few minutes, 
switch back to Equal Temperament for a rude awakening! 

At this point you might wonder why anyone would use Equal Temper- 
ament to begin with. For the answer to that question, play a D, Dmi, or Bb 
chordLThe intervallic ratios that make the C & G chords sound so pure 
make the D chord sound horribly out of tune. That's why we had to include 
Just C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will 
sound wrong. 

Each of the 4 tables allows you to play a different group of common chords 
in just intonation. Sadly, there is no single 12 note tuning that will allow all 
of the common chords to be in tune, and of course that's why they 
invented the equal temperament tuning system that we use today. 

JustC 

Play these chords: C, E, F, G, A, Cm, C#m, Em, F#m, Gm, Am 

Just C2 

Play these chords: C, E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm 

Just C2 minor 

Play these chords: C, D b , D, E b , G, A b , Cm, Em, Fm, Gm 

Just C3 

Play these chords: C, D, F, B b , C#m, Dm, Em, F#m, G#m, Am 



Vintage Keys Operation Manual 169 



Preset Edit Menu 
Preset Links 



Preset Links 



You can link presets to other presets to create layering or keyboard splits. 
The current preset can be linked with up to two other presets (Links 1 & 2). 
Each linked preset can be assigned to a specific range in order to create 
keyboard splits or can be assigned a velocity range to switch links according 
to key velocity In addition, you can specify Volume, Pan, Transpose and 
Delay settings for each Link. The modulation parameters specified in each 
preset remain in effect for each preset in the link. 







LINK 1 Preset 
000 2 Preset Name 


VROM 
















LINK 1 
RRNGE C-2 


KEY VEL 
G8 000-127 






























LINK 1 


VOLUME PRN 
+0dB 00 














LINK 1 


TRRN5P05E DELRY 
+00 







Links provide an easy way to create new sounds by combining the existing 
presets. Or, you can create your own custom stacked presets with up to 12 
layers! We're talking LARGE sounds here. Of course Links can also be used 
when you just want to stack up two sounds. 

As an example, let's stack two presets to create a big sound. Start with a 
preset you like, then go into the Links screen and start scrolling through 
the preset list while you play to hear both presets together. When you find 
a winner, simply Save the preset and you're finished! 

• You can "Split" the keyboard up to 12 ways by using combinations of the 
Layers and Links. 

• By adjusting the Velocity for the link, you can bring in the link by 
playing hard. 

• Transposing the Link can radically change the sound. 

• The delay parameter lets you create surprise effects, echoes or cascades of 
sound as you continue to hold the keys. 



170 E-MU Systems 



Preset Edit Menu 
Preset Tempo Offset 



Preset Tempo Offset 



Audition Riff 
Selection 



\ 



Listening to the Riffs is a 
quick way to learn the sounds in 
Vintage Keys. If a preset has 
hidden tricks or controllers, these 
will be shown off in the Riff. 



Play Solo Layers 



This function allows you to double or halve the Master Tempo as it applies 
to this preset. When playing or sequencing several presets in Multi mode, 
the Master Tempo may be too fast or slow for one preset. Using this feature, 
you can adjust the tempo for the misbehaving preset. The Tempo Offset can 
use the current tempo or be set to half or twice the current tempo. 



TEMPO OFFSET 

use current tempo x 2 



A Riff is a short pre-recorded musical phrase which can be anything from a 
single note to a full 16-track sequence. This function allows you to assign a 
Riff to a Preset. The Preset Riff will be used when the front panel Audition 
button is pressed. 

The Riffs themselves cannot be modified. 



RUDITION SELECTION 
Plays:KEY-MiddleC 



When constructing multilayer sounds it is often useful to turn off one or 
more of the layers so you can hear what you're doing! This feature allows 
you to temporarily solo individual layers or listen to them in any combi- 
nation. This screen differs from the other Preset Edit screens in that it is 
NOT saved with the preset. The values reset each time you exit the Preset 
Edit menu. 

Solo is activated by setting any layer to On (On = the layer is being Soloed). 
Any layers set to On will play and any layers set to Off will be muted. If all 
layers are set to Off, then Solo mode ends and all layers play normally. 
When you exit the Preset Edit menu, all layers play normally. 



PLRY SOLO LRYERS 
1: off 2: off 3: off 



M: off 



Vintage Keys Operation Manual 1 71 



Preset Edit Menu 



172 E-MU Systems 



Effects 



Effects 
Overview 



The Effects Sends 



Vintage Keys has two stereo effects processors. When playing presets one at 
a time the two processors can be programmed as part of the preset. When 
the MIDI Mode is set to "multi," the Vintage Keys uses a global effects 
assignment (Master Effects). The diagram below shows how the effects are 
integrated into the signal path using a parallel effects send/return model, 
similar to a mixing console. 

FX Send Amount 



_ _ 1 


Reverb, Delay 








. i ■ 


Effect 
A 
















r 








v^ > 




\ 
















Preset 




{ r^ 


\ fr, 








M 


If j 

■ — Dry Signal \ 

H> " f 


f > 


Main 
Outs 




i 


— w 










J 






P^ * 


Effect 
B 








1 r\. 






■ U^ " 








i 


Zhorus, Flangi 


t 





FX Send Amount 

On a mixing console you can control the amount of signal each channel 
Sends to the effect bus. This allows each channel to be placed in a slightly 
different "sonic space" which creates an airy, open sound. 

Vintage Keys uses this basic concept, but works in a slightly different 
manner. There are four effects busses: Sendl-Send4. Each preset or each 
MIDI channel (you determine which), can be directed to one of the four 
busses. Each effect processor has four Send Amounts which allow you to set 
the wet/dry mix on each of the four busses going into the effect. A setting 
of 0% is completely dry (no effect). A setting of 50% contains an equal mix 
of affected and normal (dry) signal. 



Vintage Keys Operation Manual 1 73 



Effects 
Effects Overview 



Send 2 is also used to route sounds to the Sub 1 outputs on the back panel. 
When a plug is inserted into the associated Submix jack on the back panel, 
the Dry portion of the Send is disconnected from the effects processor and 
the Dry signal is routed directly to the output jack. The Arrow (->) in the 
display points to the actual output routing. The Dry Send is disconnected 
from the Effects Processors even if only one plug is inserted into a Submix pair. 

The Effects Send is programmed for each layer in the Preset Edit menu. 
These routings can be overruled in the Global menu Mix Output screen by 
changing the submix setting from "preset", which uses the preset routing, 
to Sendl-Send4. In the diagram below, MIDI channel 1 is programmed to 
obey the preset routing, which in this case is Send 1. 

OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 




GLOBAL MENU 



Individual layers or entire MIDI channels can be routed to any of the four busses. 

The four Effect Sends allow you to get the most out of the two effect 
processors. For example, with Effect B set to an echo algorithm, you could 
route one MIDI channel to Send 3 and set the effect amount to 80%. 
Another MIDI channel could be routed to Send 4 with an effect amount of 
only 5%. 

The Mix Output function is also useful when sequencing since it lets you 
route specific MIDI channels to specific Sub outputs (on the back panel) 
where there they can be processed with EQ or other outboard effects. 



174 E-MU Systems 



Effects 
Effect Types 



Effect 
Types 



Effect Parameters 



A Effect Types 

Room 1-3 
Hall 1 & 2 
Plate 
Delay 

Panning Delay 
Multitap 1 
Multitap Pan 
3 Tap 
3 Tap Pan 
Soft Room 
Warm Room 
Perfect Room 
Tiled Room 
Hard Plate 
Warm Hall 
Spacious Hall 
Bright Hall 
Bright Hall Pan 
Bright Plate 
BBall Court 
Gymnasium 
Cavern 
Concert 9 
Concert 10 Pan 
Reverse Gate 
Gate 2 
Gate Pan 
Concert 11 



Medium Concert 
Large Concert 
Large Concert Pan 
Canyon 
Delay Verb 1-3 
DelayVerb 4-5 Pan 
DelayVerb 6-9 

B Effect Types 

Chorus 1-5 

Doubling 

Slapback 

Flange 1-7 

Big Chorus 

Symphonic 

Ensemble 

Delay 

Delay Stereo 

Delay Stereo 2 

Panning Delay 

Delay Chorus 

Pan Delay Chorus 1 & 2 

Dual Tap 1/3 

Dual Tap 1/4 

Vibrato 

Distortion 1 & 2 

Distorted Flange 

Distorted Chorus 

Distorted Double 



"A" Effect types contain Reverb and Delay effects. "B" Effect types contain 
Chorus, Flange and Distortion effects. There are 44 "A" effects and 32 "B" 
effects. In addition to the effect type, there are user adjustable parameters 
for each effect. The "A" effects have programmable Decay and High 
Frequency Damping. The "B" effects have user programmable Feedback, 
LFO Rate, and Delay Time. 



Vintage Keys Operation Manual 1 75 



Effects 
Effect Types 



Decay 

The Decay parameter is used when setting "A" type effects. Decay sets the 
length of time it takes an effect to fade out. When setting up reverb effects, 
Decay controls the room size and the reflectivity of the room. For larger 
room sizes and greater reflectivity set the Decay value higher. When setting 
up delay effects, the Decay parameter controls how many echoes are 
produced or how long the echoes last. The greater the value, the more 
echoes and longer lengths of time. The Decay value range is from through 
90. 

High Frequency Damping 

The HF Damping parameter is used when setting "A" type effects. High 
Frequency energy tends to fade away first as a sound is dissipated in a room, 
the HF Damping parameter adjusts the amount of damping applied to the 
signal's high frequency elements which, in turn, changes the characteristics 
of the room. Rooms with smooth, hard surfaces are more reflective and 
have less high frequency damping. Rooms filled with sound absorbing 
materials, such as curtains or people, have more high frequency damping. 
The value range for High Frequency Damping is from through 127. 

Feedback 

The Feedback parameter is used when setting "B" type effects. The Chorus 
and Flange effects have a controllable feedback loop after the delay 
element. Feeding back a small amount of the signal intensifies the effect by 
creating multiple cancellations or images. Higher feedback values increase 
the amount of the Feedback loop. The Feedback value range is from to 
127. 



LFO Rate 

The LFO Rate parameter is used when setting "B" type effects. Both Chorus 
and Flange effects use a Low Frequency Oscillator (LFO) to animate the 
effect. LFO applied to a chorus effect creates the slight changes necessary 
for a realistic choral effect. Applied to a flanger effect, the LFO moves the 
comb filter notches and adds animation to the sound. The LFO Rate value 
range is from to 127. 

Delay 

Flanging, chorus and echoes are all based on a delay line where the signal is 
delayed by some time period and then mixed back with the unaltered 
signal. This parameter specifies the how much time passes before you hear 
the delayed signal. On some effects, this value cannot be changed. In this 
case, the field contains a dash. The Delay value range is from 0ms to 635ms. 

Synchronize the delay time to the master clock by setting the delay time 
below zero. The delay time can be set to any of the standard clock divisors 
(listed on page 60) in order to lock the echos to the beat of your song or 
arpeggio. 



176 E-MU Systems 



Effects 
Programmed 
in the Preset 



Effects 
Effects Programmed in the Preset 



Effects are normally programmed as part of the preset allowing you to have 
a different effect for each. This section describes how to program and 
modify Vintage Keys's preset effects. 



► To Program the Effects as Part of the Preset: 

1. Press the Preset Edit button. The LED illuminates and the Preset Edit 
screen appears. 

2. Use the data entry control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Global menu will be used instead of the Preset 
Effect settings. 

4. Use the data entry control to select the FXA parameter screen. 



FXR DECRY 
90 



HFDRMP FxB>FxR 
127 127 



The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 182. 

5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the data entry control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Global menu will be used instead of the Preset 
Effect settings. 

8. Use the data entry control to select the FXB parameter screen. 



Vintage Keys Operation Manual 1 77 



Effects 
Master Effects 



Master Effects 



FXB FEEDBK LFORRTE DELRY 
127 127 635ms 



9. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

10. Save the preset. The programmed effects setting will be saved along 
with the preset. 



When playing single presets, the effects are normally programmed as part 
of the preset. In Multimode the Master effects are used, since there are only 
two effect processors to serve 16 MIDI channels. 

You might also want the effects to be programmed on a global basis when 
in Omni or Poly modes. You could choose your favorite reverb, for 
example, and have it applied to any preset you select. 



► To Program the Master Effects 

1. Press the Global menu button. The LED illuminates and the Global 
screen appears. 

2. Use the data entry control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. 

4. Use the data entry control to select the FXA parameter screen. 




The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 182. 



178 E-MU Systems 



Effects 
Master Effects 



&6 

^^ The MIDI mode (MIDI 
Menu) must be set to Omni or 
Poly mode in order to select the 
effects in the preset. 



5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the data entry control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. 

8. Use the data entry control to select the FXB parameter screen. 



FXB FEEDBK LFORRTE DELRY 
127 127 m5ms 



9. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

10. Press the Preset Edit menu button. The LED illuminates and the Preset 
Edit menu displays the last screen used. 

11. Use the data entry control to access the FXA Algorithm page and select 
"Master Effect A." 



FXR RLGORITHM 
Master Effect R 



12. Repeat step 11 for the FXB Algorithm 

13. Save the preset. The Master effects routing will be saved along with the 
preset. 



Vintage Keys Operation Manual 1 79 



Effects 
Master Effects 



Effects Mode 



Flexible Effects 
Control 



s*> 



You can create special 
"Effects Presets " which are 
assigned to the FX Multi mode 
Control channel, then use 
standard MIDI Program Change 
commands to switch effects 
during sequence playback. 



This control provides a true bypass of the effects engine. Bypass is a useful 
feature if you are using external effects at the mixing console and want to 
turn the effects off for all presets. 



► To Bypass the Effects: 

1. Press the Global menu button. The LED lights and the last Global 
parameter screen used is displayed. 

2. Use the data entry control to select the Effects Mode screen. 



FX MODE 
Enabled 



3. Use the cursor button to advance the cursor to the bottom line in the 
screen. 

4. Use the data entry control to change the value. 

5. Press the Enter key to save the settings. 

The Effects Mode values are "enabled" and "bypassed." Enabling the Effects 
Mode turns on effects. Selecting "bypassed" turns off the effects. 

The effects processor controls are very flexible. The effects can be controlled 
in three different ways to suit your personal preference and to adapt to 
different situations. 

When in Omni or Poly mode, effects are normally programmed as part of 
the preset. In Multi mode, the two effects processors can be controlled 
using the Master settings or by using the effects settings of a preset on a 
specific MIDI channel. Effects can be programmed in the following ways: 



1. Programmed as part of the preset when playing single presets 
(Omni or Poly Modes). 

2. Programmed from the Master Effects Section when playing 
either single presets (preset Effect Type set to "Master") or 
when in Multi Mode. 

3. Programmed from the designated control preset when in Multi 
Mode. 



180 E-MU Systems 



Effects 
Master Effects 



Refer to the following diagram for a look at how effects are programmed. 



1 


Master 

X 
















Preset 
FX 


mm 


I!!!! 1 !!!!!!!! 


- 






(Omni or Poly Mode) 





Effects are part 
of the Preset 



2 


Master 
FX 






Preset 

Chi X 
















!!!!!!!!!!!!!!! 


!!!!!!!!!!!!!! 


- 


• 
• 










(Multi mode, 












Preset 

Ch 16 /\ 



Master Effects 



3 


Master 

X 






Preset 

Ch 1 X 
















I 








!!! 




!! 






!! 






- 


• 
• 










(Multi mode) 
Selected FX Control Channel — 




Preset 

rhiA FX 



One Channel's 
Preset determines 
the Effect Settings 



► To Program the Effects Globally for all Presets in Multi Mode: 

1. Press the MIDI menu button. The LED illuminates and the MIDI menu 
screen appears. 

2. Use the data entry control to select the MIDI mode page. Choose 
"multi" for the mode. 



MIDI MODE 
multi 



CHRNGE 
accepted 



Vintage Keys Operation Manual 181 



Effects 
Master Effects 



Effect B Into Effect A 



3. Move the cursor to the Multi mode Effects Control page using the data 
entry control. 



FX MULTIMODE CONTROL 
use master settings 



4. Set the Effect Control channel to use master settings using the data 
entry control. 

5. Press the Enter key to save the settings and return to the main screen. 

Using the Effects Channel Settings in Multi Mode 

In Multi mode, the two effects processors can be controlled from the Master 
Effects settings or they can follow the effects settings of the preset on a 
special MIDI channel. The effect settings on this special channel will be 
applied to all the other MIDI channels. This allows the effects to be 
changed during a sequence simply by changing the preset on a specified 
MIDI channel. 

► To Program the Effects by Channel Number in Multi Mode: 

1. Press the MIDI menu button. The LED illuminates and the MIDI menu 
screen appears. 

2. Use the data entry control to select the MIDI mode page. Choose 
"multi" for the mode. 

3. Move the cursor to the Multi mode Effects Control field using the data 
entry control 

4. Set the Effect Control to "preset on Channel #" (where # is replaced by 
the actual channel number from 1 through 16) using the data entry 
control. 

5. Press Enter to save the settings and return to the main screen. 

The output of effects processor B can be routed into effects processor A. 
This connects the effects in series instead of their normal parallel configu- 
ration. Two effects connected in series sound very different than the same 
two effects in parallel. For example, a chorus patched through reverb can 
turn a bland string section into a lush wall of sound. The B ->A amount can 
also be controlled for even more flexibility. 

► To Send the Output of Effect B through Effect A: 

In this example, 100% of Effect B will be sent into Effect A. 

1. Access the FXA parameter screen (in either the Global or Preset Edit 
menus) that contains the FXB ->FXA parameter. 



182 E-MU Systems 



Effects 
Master Effects 



FXR DECRY 
127 



HFDRMP FxB>FxR 
127 127 



2. Set this amount to 127. Press the cursor button to return the cursor to 
the top line in the display. 

3. Use the data entry control to select the FXA submix routing parameter 
screen. 



FXR SEND RMOUNTS 
2: 20% 3: 30% 



1: 10% 
M: 40% 



4. Press the cursor buttons to advance the cursor to the Main field. 

5. Set the Main send amount to any amount other than zero. 

6. Press the cursor button again to return the cursor to the FXA title. Use 
the data entry control to advance to the FXB Algorithm page. 

7. Select an effect. 

8. Advance to the FXB submix routing page and set the Main FXB send 
percentage to zero. 

9. Play the keyboard and you should hear the B Effect running through 
Effect A. This patch is shown below. 



Main Send 

50% — ^ 



Effect B 





Main Send 
0% \£ 

I— * 


Effect A 


B»>A 

7 00% 



Vintage Keys Operation Manual 183 



Effects 
General Effect Descriptions 



General Effect 
Descriptions 

Reverb 



Reverberation is a simulation of a natural space such as a room or hall. The 
reverb algorithms in Vintage Keys simulate various halls, rooms and rever- 
beration plates. In addition, there are several other reverb effects such as 
Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. 
There are two adjustable parameters on the reverb effects - Decay Time and 
High Frequency Damping. 

Decay time defines the time it takes for the reflected sound from the room 
to decay or die away. The diagram below shows a generalized reverberation 
envelope. 




TIME 



Decay Time 



After an initial pre-delay period, the echoes from the closest walls or ceiling 
are heard. These first echoes, or the early reflection cluster, vary greatly 
depending on the type of room. Roughly 20 milliseconds after the early 
reflection cluster, the actual reverberation begins and decays according to 
the time set by the Decay Time parameter. 

High frequency energy tends to fade away first as a sound is dissipated in a 
room. The High Frequency Damping parameter allows you adjust the 
amount of high frequency damping and thus change the characteristics of 
the room. Rooms with smooth, hard surfaces are more reflective and have 
less high frequency damping. Rooms filled with sound absorbing materials 
such as curtains or people have more high frequency damping. 

General Descriptions of the Reverb Types 



Room: Programs simulate small rooms with high frequency absorption 
caused by drapes and furniture. 

Plates: Simulates plate type reverbs with their tight, dense, early 
reflections and sharp reverb buildup. 

Hall: Presets recreate the open, spacious ambience of large concert halls. 

Gated Reverbs: Add ambience only while the original signal is still 
sounding. As soon as the signal falls below a threshold, reverb is cut off. 

Delay: Programs can be used to create echo and doubling effects. 

Multi Tap: Programs consist of the reflection cluster only without the 
reverb decay. 



184 E-MU Systems 



Effects 
General Effect Descriptions 



Chorus 



Doubling 



Slapback 



Stereo Flanger 



The function of a chorus device is to thicken the sound or to make one 
voice sound like many. This effect is usually created by mixing one or more 
delayed versions of the signal with the original. The delay times used are 
too short to be perceived as an echo, but long enough so that comb filtering 
does not occur. In addition, the delay time is varied via a low frequency 
oscillator to simulate the random differences which occur when multiple 
instruments are playing together. A slight amount of feedback improves the 
effect by creating multiple images of the sound as it recirculates again and 
again. 

All the choruses are true stereo using two separate delay lines controlled by 
a single set of controls. The delay times are slightly different for each 
channel and the LFO phase is inverted on one channel to help contribute 
to the overall chorus effect. The LFO Rate and Depth settings are critical to 
achieving a realistic effect, with faster LFO rates generally requiring less LFO 
amount and vice-versa. 



When a copy of a sound delayed by about 26 milliseconds is added back to 
the original, two audio images are perceived by your brain. When the 
delayed image is slightly varied or modulated, the illusion of two voices is 
created. 



Slapback is a single short echo in the range of 50-60 milliseconds. A sound 
delayed by this length of time is perceived as a discrete and separate image 
which is useful for a thickening effect or as a pre-delay for reverb simulating 
a hard, reflective surface such a gymnasium wall. 

A flanger consists of a short audio delay line whose output is mixed 
together with the original signal. Mixing the delayed and original signals 
results in multiple frequency cancellations called a comb filter. Since the 
flanger is a type of filter, it works best with harmonically rich sounds. 





FREQUENCY (log) 
This is the frequency response of a Comb Filter. 

Flanging was originally created using two tape recorders playing identical 
recordings. By exactly synchronizing the two decks and then slowing the 
speed of one by grasping the tape reel flanges, the flanging effect was born. 



Vintage Keys Operation Manual 185 



Effects 
General Effect Descriptions 



Delay 



Stereo Delay 

Panning Delay 
Dual Tap 



Vibrato 



Distortion 



The Vintage Keys flanger is a stereo device consisting of two separate delay 
lines controlled by a single set of controls. A Low Frequency Oscillator 
(LFO) varies this initial delay setting, changing the frequency of the 
notches and adding animation to the sound. LFO Rate controls the rate of 
change and LFO Depth controls how much the LFO changes the delay. 

The Feedback control sends some of the delayed signal through the delay 
line again. When feedback is used the comb filter notches are deepened. 



Delay is an effect which can be used for doubling, reverb pre-delay, or 
echoes. 

Delay Time is variable from 0-635 mS and controls the time between 
echoes. Feedback and determines how long the echoes continue sounding. 
"Infinite" delay effects are also possible without the risk of runaway. 



Similar to delay except that the delay line outputs a stereo signal from the 
mono input. The two output signals are a few milliseconds apart to create a 
stereo image. The delay times are variable from 0-635 mS. 

A panning delay is similar to the normal delay lines except that the echoes 
bounce back and forth between the two stereo speakers. 

These are delay lines where the signal is "tapped off" at two unevenly 
spaced locations. When feedback is used, multiple complex echoes are 
produced. The fraction in some of the algorithm names (i.e. 1/3, 1/4) refers 
to the time ratio between the taps. 

Basically, this a delay line modulated by an LFO, but with none of the 
original signal added in. The LFO modulation creates a Doppler shift and a 
resultant cyclical pitch shift. The vibrato created in this manner sounds 
very different than vibrato created by frequency modulating the sample. 

Distortion uses a technique called "soft-clipping" to create additional 
harmonics in the signal. As the level increases, the top of the waveform 
becomes somewhat squared. As the level increases further, it transforms 
into a true square wave. 




Distortion 




Soft clipping gradually squares the edges of the waveform as the amplitude is increased. 



186 E-MU Systems 



Save/Copy Menu 



Saving a Preset 



The Save/Copy button is used to save changes to a preset, copy data 
between presets, randomize presets and to move other types of data. The 
menu is context-sensitive and will start at the appropriate save screen. If 
multiple items need to be saved, then the screens have the following 
priority: pattern, song, preset. Use the data entry control to navigate to 
other pages that support copying information. 

Any time you make a change to a preset, either using the Preset Edit menu 
or by changing the Controller Knobs in Quick Edit mode, you must save 
the preset in order for the change to become permanent. When you save a 
preset it erases any existing preset information in that location. Make sure 
that the destination location does not contain preset information you want 
to keep. 



5RVE PRESET to 

020 1 Destination Preset 



User 



► To Save a Preset: 

1. Press the Save/Copy menu button. 

2. Move the cursor to the bottom line on the display. 

3. Select the new preset location using the data entry control. 

4. Press the Home/Enter button. 



Vintage Keys Operation Manual 187 



Save/Copy Menu 
Copy Preset 



Copying 
Information 



Copy Preset 



% 



All the Sound Navigator 
features work when using the 
Copy functions. 



Copy Layer 



The Copy operations let you copy information from any preset or layer to 
any other preset or layer. To use the copy command, first select the preset or 
layer to which you want to copy (the destination location). Then, from the 
copy screen, select the preset or layer you want to copy to the currently 
selected location (the source location). Using the copy commands you can 
copy preset, layer, Patchcord and arpeggiator information. 

The Copy Preset command lets you copy all of the preset information from 
one location into the preset of the current location. The preset information 
in the source location (the preset location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 



COPY PRESET from 
009 3 bas: Deep End 1 



VROM 



► To Copy a Preset: 

1. Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Select "Copy Preset from" using the data entry control. 

4. Select the preset you want to copy using the data entry control. The 
ROM Bank, Preset Number, Bank Number, Category and Preset Name 
fields are all selectable. 

5. Press the Home/Enter button. 

A warning appears asking you to confirm once more. Press the Home/ 
Enter button to copy the selected preset into the current location. 



6. 



The Copy Layer command lets you copy any layer information from one 
preset into any layer of the current preset location. The layer information 
in the source location (the layer location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 




188 E-MU Systems 



Save/Copy Menu 
Copying Information 



Copy Patchcords 



► To Copy a Layer: 

1. Select the Preset and Layer you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to the bottom line on the display. 

4. Select the preset location using the data entry control, of the preset 
containing the information you want to copy into the current preset. 

5. Move the cursor to the top line in the display. 

6. Select the layer of the source preset in the first field on the right. 

7. Select the destination layer in the second field. 

8. Press the Home/Enter button. 



The Copy Patch Cord command lets you copy the Patchcord settings from 
one layer of the preset location into the current layer of the current preset 
location. The preset information in the source location (the preset location 
from which you want to copy) is not deleted from the original location, just 
copied to the destination location. 



COPY CORDS User 
020 1 Source Preset 



Ll -> LM 



► To Copy a Patchcord: 

1. Select the Preset and Layer you want to copy information into. 

Press the Save/Copy menu button. 

Move the cursor to the bottom line on the display. 

Select the preset location using the data entry control, of the preset 
containing the information you want to copy into the current preset. 

Move the cursor to the top line in the display. 

Select the layer of the source preset in the first field on the right. 

Select the destination layer in the second field. 

8. Press the Home/Enter button. 



2. 
3. 
4. 

5. 
6. 
7. 



Vintage Keys Operation Manual 189 



Save/Copy Menu 
Copy Preset Patchcords 



Copy Preset 
Patchcords 



Copy Arpeggiator 
Settings 



The Copy Preset Patchcord command lets you copy the preset patchcord 
settings from one preset location into the current preset location. The 
preset information in the source location (the preset location from which 
you want to copy) is not deleted from the original location, just copied to 
the destination location. 



COPY PRESET CORDS 
020 1 Source Preset 



User 



► To Copy a Preset Patchcord: 

1. Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to the bottom line on the display. 

4. Select the preset containing the information you want to copy. 

5. Press the Home/Enter button. 



This function lets you copy the Arpeggiator settings from any ROM or RAM 
preset location into the current RAM (User) preset. 



COPY RRP SET from 
053 3 arp: Downtown 



VROM 



► To Copy the Arpeggiator Settings: 

1. From the Main screen, select the User Preset you want to copy the Arp 
setting into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to any of the fields on the bottom line on the display. 

4. Use the data entry control to select the preset you want to copy from. 

5. Press Enter when you have made your selection. The Enter LED is 
flashing indicating that Vintage Keys is waiting for your response. 

6. The Arp Settings are copied into the current preset. 



190 E-MU Systems 



Save/Copy Menu 
Copy Arpeggiator Pattern 



Copy Arpeggiator 
Pattern 



Copy 
Preset Bank 



This function lets you copy the Arpeggiator pattern from any ROM or RAM 
preset to any RAM (user) pattern. 



COPY RRP PRT from VROM 
96 1 TRRNCED 



► To Copy the Arpeggiator Pattern: 

1. Press the Save/Copy menu button. 

2. Move the cursor to any of the fields on the bottom line on the display. 

3. Use the data entry control to select the preset you want to copy from. 

4. Press Enter when you have made your selection. 



Overwrite pattern: 
00° No Control 



5. Press Enter. The Arp Pattern is copied into the selected User Pattern. 



The Copy Preset Bank command lets you copy an entire bank from any 
ROM or RAM bank location to any RAM (user) bank. This function can be 
especially useful after installing a new sound SIMM. 



COPY BRNK 
From: VROM 



V 



To: User 



ROM or RAM 
Preset Location 



Bank No. 



Destination 
Bank No. 



► To Copy a Preset Bank: 

1. Press the Save/Copy menu button. 

2. Move the cursor to the "From" field on the bottom line on the display. 

3. Use the data entry control to select the preset bank you want to copy 
from. 

4. Move the cursor to the "To" field on the bottom line on the display. 

5. Use the data entry control to select the User preset bank you want to 
copy into. 

6. Press the Home/Enter button to overwrite the bank. 



Vintage Keys Operation Manual 191 



Save/Copy Menu 
Copy Preset Bank 



Sound 
Authoring 

Copy User Bank 
to Flash 



If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This is a special purpose function to be used with the Flash sound 
authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can 
be used as a custom Vintage Keys bank. Presets are then created in a User 
bank. When the bank of presets is finished, it can be copied, using this 
function, to the Flash SIMM. Flash SIMMs contain two separate memory 
locations. One of these memories contains the sound samples and the 
other memory can hold four banks of 128 presets. 

For instructions on how to remove and replace ROM SIMMs, 
please see "Installing Sound SIMMs" on page 229. 

The four sound SIMM sockets in Vintage Keys are marked 0-3. The desti- 
nation Flash SIMM must be placed in SIMM socket 1. 



COPY USER BRNK TO FLR5H 
From: User To: Flash 2 



► To Copy a User Bank to Flash: 

1. Make sure a Flash SIMM is inserted into the extra Vintage Keys SIMM 
socket. 

2. Press the Save/Copy menu button. 

3. Rotate the data entry control to select the "Copy User Bank" function 
shown above. 

4. Move the cursor to the "From" field and select the User bank that you 
want to copy to the Flash SIMM. 

5. Move the cursor to the "To" field and select the Flash bank that you 
want to contain the User bank. 

6. Press Enter. The Enter LED will flash and the screen below appears. 



Press ENTER to Overwrite 
Flash SIMM Presets 



7. Press Enter again to confirm. The following screen appears: 



COPYING USER BRNK TO FLRSH 
Done. Please Reboot Now. 



8. The Flash presets cannot be used until Vintage Keys is rebooted (power 
off then on). Reboot the Vintage Keys and verify that the new Flash 
bank has been properly copied. 



192 E-MU Systems 



Save/Copy Menu 
Rename Flash SIMM 



Rename Flash SIMM 



X) The Flash ID is the MSB 
of the MIDI Bank Select 
command used to select the 
Sound Bank. 



<5>& 

If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This utility allows you to rename the Flash SIMM and change its ID 
number. Flash SIMMs can have any five letter name you choose. Each Flash 
SIMM in a Vintage Keys unit must have a unique ID number (106-119). 

The field in the upper right corner selects between multiple Flash SIMMs. If 
only one Flash SIMM is installed, the field cannot be modified. 



RENRME FLR5H SIMM Flash 

New Name: Drums ID: 110 



Make sure a Flash SIMM is inserted in a Vintage Keys SIMM socket. 

Press the Save/Copy menu button. 

Rotate the data entry control to select the "Rename Flash SIMM" 
function shown above. 

Move the cursor to the "New Name" field and rename the SIMM using 
the data entry control to select the letter and the cursor keys to select 
the position. 

Set the Sound ID number for the SIMM. It doesn't matter which 
number you choose as long as the same number isn't used in another 
SIMM. 

Press Enter. The following screen appears and the Enter LED will be 
flashing. 



Press ENTER to 
Flash SIMM data 



Update 



7. Press Enter again to confirm or any other button to abort. The 
following screen appears: 



CHRNGING SIMM NRME & ID 
(takes about 2 minutes) 



8. The Flash presets cannot be used until Vintage Keys is rebooted (power 
off then on). Reboot the Vintage Keys and verify that the new Flash 
bank has been properly renamed. 



Vintage Keys Operation Manual 193 



Save/Copy Menu 
Duplicate Flash 



Duplicate Flash 



&6 

If there are no Flash 
SIMMs in the unit, or if the 
SIMMs are in the wrong slots, 
an error message will be 
displayed. 



This utility allows you to duplicate Flash SIMMs using Vintage Keys. Both 
Sound and Preset data is copied when a Flash SIMM is duplicated. A factory 
sound SIMM cannot be copied using this utility. 

The SIMM sockets are marked 0, 1, 2, 3. The Flash SIMM you want to copy 
MUST be placed into SIMM Socket 0. The destination Flash SIMM must be 
placed in SIMM socket 1. See "Installing Sound SIMMs" on page 229. 




1. Make sure the two Flash SIMM are located in the required SIMM 
sockets. 

2. Press the Save/Copy menu button. 

3. Rotate the data entry control to select the "Duplicate Flash SIMM" 
screen shown above. 

4. Move the cursor to the bottom line and press Enter. The following 
screen appears and the Enter LED will be flashing. 



Press ENTER to overwrite 
the Flash SIMM in Slot 1 



5. Press Enter again to confirm or any other button to abort. The 
following screen appears and the SIMM is copied. 



DUPLICRTING SLOT -> SLOT 1 
(Takes about 5 minutes) 



6. When Vintage Keys has finished duplicating the SIMM, turn power off, 
remove the copied SIMM, then reboot. That's it! 



194 E-MU Systems 



Save/Copy Menu 
Sound Authoring 



Create Random 
Preset 



^ 



Examine interesting 
presets to learn how they work 
using the Edit menu. 



This is a great feature which creates a new preset using portions of the ROM 
presets as source material. By merging random presets, really great 
sounding presets can be generated with ease. Use this feature to generate 
wild new sounds, get new programming ideas or just for fun. 



RRNDOMIZE PRESET 
000° Rny User Preset 



User 



► To Create a Random Preset: 

1. Press the Save/Copy menu button. 

2. Move the cursor to the bottom line on the display and press Enter. 

3. A new random preset will be created. 

4. Don't like the sound? Press Enter again and a new random sound will 



be generated. 



Vintage Keys Operation Manual 195 



Save/Copy Menu 



196 E-MU Systems 



Preset Programming 



Editing Presets 



Changing the 
Instrument 



\ 



The Preset Edit jump 
Buttons are located in the 
"Command Functions " section 
of the front panel. 



There are so many differnt ways to use Vintage Keys that it would be impos- 
sible to describe them all. This chapter will get you started and hopefully 
give you a few ideas for programming your own custom sounds. In order to 
learn the most from this chapter, we recommend that you actually try each 
example. 



One of the easiest ways to make a new preset is to edit an existing preset. 
This is also an excellent way of becoming familiar with Vintage Keys. If you 
don't like what you hear, simply select a new preset, then Vintage Keys 
reverts to the original sound. Changes are not permanent until you Save 
them (see "Saving a Preset" on page 187). 

Let's experiment and modify a few parameters of an existing preset. We'll 
start with functions that have an obvious effect on the sound: Instrument 
Select, Tuning, and Chorus. 

Changing the instrument is the easiest and most dramatic way to modify 
an existing preset. 

► To Change the Instrument for the Current Layer: 

1. Choose any cool preset, then press the Preset Edit button. 

2. Press the #1 Jump button twice to jump directly to the Instrument 
page. See "Preset Menu Jump Keys" on page 36. 



L1 INSTRUMENT ROM:VROM 

OlOi-l uuav: Mini Pulse 1 



Move the cursor down to the bottom line (using a Cursor button). 

Use the Channel button to turn select the various layers. Use the data 
entry control to turn OFF all layers except LI. This allows you to hear 
the different instruments by themselves. 

Play the keyboard as you scroll through the various instruments. 



Vintage Keys Operation Manual 197 



Preset Programming 
Editing Presets 



Changing the Tuning 
of an Instrument 



► To Change the Instrument for any Layer in the Preset: 
6. Use the Channel Select buttons to select another layer. 



L ^ INSTRUMENT ROM:VROM 

0101 uuav: MiniTriangle 



7. Find another instrument that sounds good when combined with the 
previous instrument selected. 

8. Repeat steps 6 and 7 if you want to add additional layers (although two 
layers will be enough for these experiments). 

Now let's play with the tuning. 

Tuning the selected layer of the preset changes the pitch of the key on the 
controller. If the numbers are "00," it means that the instruments are tuned 
to concert pitch (A=440 Hz). The Coarse tuning value represents whole 
semitone intervals. The Fine tuning value shifts the pitch in 1/64 semitones 
(or 1.56 cents). 

► To Tune the Instrument of the Current Layer: 

1. Press the #3 Jump button twice to jump directly to Tuning page. 



Ll JUNING 
Coarse: +36 



Fine: +6 



2. Move the cursor to the Coarse field (using the cursor button). 

3. Set the value to +12 to shift the pitch up a whole octave. To shift the 
pitch in smaller units than a semitone, use the Fine field. 

Try tuning one of the instruments to a perfect fifth above the other by 
setting the Coarse value to +7. 

Tuning an instrument far out of its normal range completely changes the 
character of the sound. For example, if you tune a bass guitar up 2 octaves, 
it's going to sound rather petite. On the other hand, if you tune it down 2 
octaves, you can probably rattle plaster off the walls! Experiment with 
radical pitch shifting. You'll be surprised at the results. 



198 E-MU Systems 



Preset Programming 
Editing Presets 



Chorus 



&6 

^^ WARNING: Since it 

works by doubling the 
instruments, Chorusing halves 
the number of notes you can 
play on Vintage Keys. 



Volume Envelope 




Piano 



Organ 




Strings 




Percussion 



This is an easy one. Chorus works by doubling the instruments and 
detuning them slightly The larger the chorus value, the more detuning 
occurs. The Width parameter controls the stereo spread. A Width value of 
0% reduces the chorus to mono, a value of 100% provides the most stereo 
separation. Chorus is useful when you want to "fatten up" a part quickly 
and easily. 



► To Chorus a Layer: 

1. Press the #5 Jump button to jump directly to the Chorus page. 

2. Use the cursor buttons to advance the cursor to the Chorus field (the 
first field in the bottom line of the display). Use the data entry control 
to turn on chorus. 



L1 CHORUS 
off 



WIDTH 
100% 



3. Select a Width value based on the amount of detuning you want. 
Smaller numbers mean less detuning, larger ones more. 

You can select various amounts of chorusing for each of the instruments, 
just play around with the Chorus and Width parameter until you like what 
you hear. 



Every sound you hear, whether it's a piano note, a drum, or a bell, has a 
characteristic volume curve or envelope. This Volume Envelope shapes the 
volume of the sound which grows louder or softer in various ways during 
the course of the sound. The volume envelope of a sound is one of the clues 
our brain uses to determine what type of sound is being produced. 

An envelope shapes the sound or volume of the sound over time. The 
envelope generators in Vintage Keys all have six stages to the contour: 
Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When you 
press a key on the keyboard, the envelope goes through each of the first 
four stages, advancing to the next stage when the defined Level for each is 
reached. As long as you continue to hold the key down, the envelope 
continues through the first four stages holding at the end of the Decay 2 
level until the key is released. When you release the key, the envelope 
jumps to the Release stages (no matter where the envelope is when you 
release the key) ending at the Release 2 level. 



Vintage Keys Operation Manual 199 



Preset Programming 
Editing Presets 



t 

level 



time 




Key Down 



Key Released 



Every instrument in Vintage Keys has it's own predetermined volume 
envelope which is used when the Volume Envelope parameter is set to 
"factory." By setting the Volume Envelope to "time-based" or "tempo- 
based," we can reshape the instrument's natural volume envelope any way 
we want. By reshaping the volume envelope of a instrument, you can 
dramatically change the way the sound is perceived. For example, you can 
make "bowed" pianos or backward gongs. The diagrams to the left show 
the characteristic volume envelopes of a few common sounds. 

In preparation for this experiment choose almost any of the standard organ 
presets which sustain as long as the key is held down. Go to the Instrument 
page and set it to "None" on all layers except Layer 1. Now you're ready to 
play with the Volume Envelope. 



► Adjusting the Volume Envelope (the easy way): 

Many sounds don't require a complex six-segment envelope. Over the 
years, a simpler Attack-Decay- Sustain-Release envelope, or ADSR, have 
become standard. The front panel controller knobs on Vintage Keys have 
been preprogrammed to adjust these four volume envelope parameters. A 
diagram of this standard ADSR envelope is shown below. 




Key Down 



Key Released 



1. Front panel knobs E-F are routed to the volume envelope parameters. 
This is the easiest way to change the volume envelope settings. 

2. Press the front panel Controller button E-H to select: Amp Attack, Amp 
Decay/Release. 



200 E-MU Systems 



Preset Programming 
Editing Presets 



S*> 



Front panel knobs 5-8 
are routed to the volume 
envelope parameters and thus 
affect the settings. You may 
want to disconnect the 
Patchcords to gain total control 
of the envelope parameters. 
(Alternately, you can create a 
completely blank preset and start 
from there.) 



3. Increase the Amp Attack knob and play a note. The attack controls the 
time it takes for the sound to reach the Attack level when a key is 
pressed and held. 

4. Increase the Amp Decay/Release knob. Note the effect as you release the 
key. The Release stages controls the time it takes for the sound to die 
away when a note is released. 

► To Create a Complex Volume Envelope: 

1 . Go to the Volume Envelope mode screen, by pressing the "Amp" jump 
button twice, and set the Volume Envelope mode to "time-based." 



L1 VOLUME ENVELOPE 
Mode: time-based 



2. Now move on to the next screen to set the Volume Envelope 
parameters. 



L1 VOL ENV TIME 
Rttackl 50 



LEVEL 
100% 



3. 



4. 



Increase the Attack 1 time value and play a note. The attack controls 
the time it takes for the sound to reach the Attack level when a key is 
pressed and held. 

Move the cursor to the first field in the bottom line and use the cursor 
buttons to advance to the Release pages. 

Increase the Release 1 and 2 times. Note the effect as you release the key 
on the controller. The Release stages controls the time it takes for the 
sound to die away when a note is released. 



► To Setup the Volume Envelope as an ADSR: 

The classic synthesizer ADSR (Attack-Decay-Sustain-Release) envelope is 
easy to create using the Vintage Keys six segment envelope generators. The 
trick is to only use segments: Attackl, Decay2, and Releasel. 

1. Set Atkl, Atk2 & Dcyl levels to 100. 

2. Set Rlsl & Rls2 levels to 0. 

3. Set Atk2, Dcyl and Rls2 rates to 0. 

4. Program the Atkl, Dcy2 and Rlsl segments as you wish. Decay 2 level is 
your Sustain level. 



Vintage Keys Operation Manual 201 



Preset Programming 
Editing Presets 



Working with Filters 



% 



Front panel knobs A & B 
are routed to the filter 
parameters and will affect the 
initial settings made here. 







Sustain i 
Level > 




Used Unused 

Atkl Atk2 
Dcy2 Dcyl 
Rlsl Rls2 


t 

level 


f 


^^%/ 


time — ► i 

Key 
Down 


Key 
Released 



The filters make it possible to remove certain components of the sound. A 
low pass filter removes the high frequency components or put another way, 
it "lets the low frequencies pass." A high-pass filter removes the low 
frequency components from the sound letting only the high frequencies 
pass. See "Vintage Keys Filter Types" on page 148 for a complete list of 
Vintage Keys's filters and their descriptions. 

In preparation for the next tutorial, set up the Vintage Keys with a single 
instrument layer on Layer 1 . 



1. 



1. 



Go to the Instrument screen (Preset Edit menu) and select Instrument 
#038 - SEM Fuzz. This is a harmonically rich sound. Since filters work 
by removing or accentuating certain frequencies, we want to make sure 
that we have a lot of frequencies to start with. 

Advance to the Filter Type screen using the data entry control. Select 
the Classic 4th order filter. 



L1 FILTER 
Classic 



Ord 



Type 
LPF 



1. The Filter Frequency and Q (resonance) are preprogrammed to the front 
panel controller knobs A & B. This is the easiest way to change the 
volume envelope settings. 

2. Press the front panel Controller button A-D to select controls A-D 

The Frequency parameter determines the filter cutoff frequency or the 
frequency the filter uses as the highest frequency allowed to pass. If you 
play the keyboard now, you should hear the raw sound. Slowly decrease 
the filter cutoff frequency value as you play the keyboard. The sound 
gets more and more dull as you remove more and more high 
frequencies from the sound. At some point, the sound completely 



202 E-MU Systems 



Preset Programming 
Editing Presets 



disappears. (You have filtered out everything.) The chart on the 
following page illustrates what you just did. 



100 



Cutoff Frequency 




80 160 360 720 14402880... 

Frequency 

3. Turn the filter back up to full, then adjust the Q. 

4. Set the Q about halfway up, then adjust the Cutoff as you play the 
keyboard. As you change the Cutoff, notice that the sound now has a 
sharp, nasal quality. A high Q boosts or amplifies the frequencies at the 
cutoff frequency (Fc). 

Adding the Filter Envelope 

Now let's modulate the Filter Frequency with the Filter Envelope. The Filter 
Envelope is a device that can automatically change the filter frequency 
during the course of the note. Before we define the Filter Envelope, we need 
to patch the Filter Envelope to the Filter Frequency. 

► To Setup the Filter Envelope: 
1 . Go to the Patchcord screen by pressing the Cords Jump Key. 



2. 



3. 



Ll PRTCHCORD 
FiltEnv+ -> FiltFreq 



#03 
+100 



Move the cursor to Patchcord #3. This patchcord is preprogrammed to 
connect the Filter Envelope to Filter Cutoff Frequency. 

Move the cursor to the last field in the lower line. This is the Amount 
field. The Amount field determines the amount of modulation applied. 
Set this value to +100. 



Vintage Keys Operation Manual 203 



Preset Programming 
Editing Presets 



L1 PRTCHCORD 
FiltEnv+ -> FiltFreq 



#01 
+100 



This setup connects the Filter Envelope Generator to the Filter Cutoff as 
shown in the following diagram. 



>R 



Instrument 


w 


Filter 

Fc Q 


*- 








>-L 




4. On the front panel knob controllers, choose controls A-D. 

5. Adjust Filter Attack and Filter Release knobs and note their effect on 
the sound. 

6. Now, return to the Filter Envelope Mode screen. Set the Mode to 
"time-based." 



L1 FILTER ENVELOPE 
Mode: time-based 



7. Advance to the Filter Envelope parameter page. 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
100% 



8. Move the cursor underneath the time field and change the value to 
about +50. Now when you press a key the filter slowly sweeps up. 



204 E-MU Systems 



Preset Programming 
Editing Presets 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
+88% 



9. Change the attack rate and note the change in the sound. 
10. Set the envelope parameters as shown in the following table. 



Envelope Phase 


Time 


Level % 


Attack 1 


40 


65 


Attack 2 


65 


100 


Decay 1 


80 


85 


Decay 2 


25 


50 


Release 1 


97 


20 


Release 2 


73 






With the above setup, the filter sweeps up, then Decays back down to 
the Decay 2 Level until you release the key. Then it sweeps down at the 
Release rates. Play with the envelope parameters for awhile to get a feel 
for their function. (If you're having trouble understanding the Envelope 
Generators, please refer to the Programming Basics section in this 
manual.) 

Changing Filter Types 

Go back to the Filter Type screen shown below and move the cursor down 
the lower line of the display. Change the filter type while playing the 
keyboard. There are 50 different filter types. 



L1 FILTER 
Rah-Ry-Eeh 



Ord 
6 



Type 
VOW 



These filters are extremely powerful and have been carefully crafted to offer 
maximum flexibility and musical control. You may want to change the 
Envelope (Patchcord) Amount, Q and/or the Filter Frequency to get the 
right sound for each filter and instrument. These three controls, coupled 
with the Filter Envelope, are perhaps the most important controls on any 
synthesizer. Take the time to learn how they interact with each other and 
you will be able to create sounds beyond imagination. 



Vintage Keys Operation Manual 205 



Preset Programming 
Editing Presets 



Practice Modulating 



Envelope Repeat 

The Envelope Generator can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. 

► To Make the Filter Envelope Repeat: 

1. Go to the Filter Envelope Mode screen shown below. 

2. Move the cursor to the Mode field. 



Ll FILTER ENVELOPE 
Mode: time-based 



3. Turn the data entry control clockwise. The Mode field will change to 
Repeat as shown below. 



Ll FILTER ENVELOPE 
Repeat: on 



4. Move the cursor to the on/off field and turn Envelope Repeat On. 

5. Play a key on the keyboard. You should now hear the envelope 
repeating. 

6. Go back to the envelope parameter page and adjust the Attack 1&2, 

and Decay 1&2 parameters. The repeating envelope cycles through 
these four stages as long as the key is held. 

• Try modulating the pitch with the Filter Envelope generator. 

• Use Velocity to modulate the Filter Envelope Patchcord or the Filter 
Frequency. This brightens the sound as you play harder. 

• Program the LFO to modulate Filter Frequency and Volume (Patch- 
Cord screen). 

• Modulate the LFO with the other LFO, with Velocity, and with the 
Pitch Wheel. 

• Examine the Factory presets to learn how they're constructed. There 
are lots of cool synthesis tricks you can use in your own presets. 

• We've programmed the front panel knobs our way, but since they're 
completely programmable there's no reason why you can't create 
your own custom controls. 

• Think of ten exotic modulation routings, then try them out. 
Experimentation is the key to learning how to control Vintage Keys. 



206 E-MU Systems 



Preset Programming 
Editing Presets 



Troubleshooting 



A common source of confusion when working with the filter envelope is 
that the Attack or Release parameters might not seem to be working 
correctly. If you are not getting the expected result, try to analyze the 
situation. There will be many times when you will have to stop for a 
minute and think, "What am I trying to do and why isn't it working?" 
When this happens (and it will), don't panic. Troubleshooting is a normal 
part of the synthesis process. Simply examine the various parameters and 
try to be as analytical as possible as you solve the problem. The solution is 
usually simple. (The filter is already wide open and can't open any more, or 
another Patchcord is connecting something to the parameter and affecting 
it.) Learning to play any instrument takes a little patience and practice. 

Referring to the diagram below, which shows the Vintage Keys signal flow, 
notice that the DCA comes after the Filter. The DCA controls the final 
volume of the sound, so if the filter's release is longer than the release for 
the DCA, you won't hear it, because the DCA has already shut off the 
sound. 



Instrument 



Z-Plane 
Filter 




^R 



DCA 



Pan 



^►L 



Remember not to select a new preset before saving the current one or all 
your changes will be lost (the preset reverts to the last saved version). If you 
want to save your creation, select the Save/Copy menu and select a desti- 
nation preset location for your masterpiece, then press Enter. 

Because you can save your work, it's worth spending time to get the sound 
just right. When designing sounds you become an instrument builder as 
well as a musician. With Vintage Keys you can design the custom instru- 
ments you've always wanted! 



Vintage Keys Operation Manual 207 



Preset Programming 
Linking Presets 



Linking 
Presets 



x 



page 



See "Preset Links" on 
70 for more information. 



Using the Link pages in the Edit menu is a quick and easy way to create new 
sounds. Use the Links to "layer" presets and to "split" a keyboard into 
sections containing different sounds. 

► To Layer Two Presets: 

1 . Select the first preset you want to layer. 

2. Press the Preset Edit button. 

3. Go to the Link screen by pressing the Links Jump Key. 




4. 



5. 



Move the cursor to the second line of the display. Select the preset you 
want to link with the preset you selected in step 1. Play the keyboard as 
you scroll through the various presets to hear the results. 

If you want the link to be a permanent part of the preset, be sure to save 
the preset. Otherwise, simply change the preset to erase your work. 



► To Create a Split Keyboard Using Links: 

1. Follow steps 1 through 4 above. 

2. Press Enter and use the Jump Key to advance to the next page. 



LINK 1 
RRNGE 



C-2 



KEY 



VEL 
000 127 



3. Set the keyboard range of the linked preset as desired. 

4. Press Enter and use the data entry control to go to the Key Range page 
using the Ranges jump key. 




5. Set the range of the original preset so it fills the remaining keyboard 
area. Save the preset. 



208 E-MU Systems 



Appendix 



Basic Preset Knob 
Functions 



This section provides some of the more technical information about 
Vintage Keys. In this appendix, you will find information about velocity 
curves, MIDI commands and Patchcord charts. 

The front panel knob functions are standardized for most of the factory 
presets. The typical functions of the controller knobs are described below. 



FILTER CUTOFF 


FILTER RES 


SHAPE 


IMAGE 


ATTACK 


DECAY/RLS 


MOVEMENT 


RATE 


MODI 


MOD 2 


MOD 3 


MOD 4 


I o 


I o 


o 


o 


O 


O 


o 


O 


A/E/l 


B/F/J 


C/G/K 


D/H/L 



Filter Cutoff Filter Frequency 

Filter Res Filter Resonance 

Shape Filter Envelope Amount 

Image Typically brings in additional layers 

Attack Volume or Filter Envelope Attack 

Decay/Release Vol/Filt. Envelope Release and/or Decay 

Movement LFO->Dynamic Movement (i.e. panning) 

Rate LFO Rate 

Mod 1 Typically Velocity -> Amplifier Volume 

Mod 2 Typically Velocity -> Filter Frequency 

Mod 3 Typically Effects Processor A Amount 

Mod 4 Typically Effects Processor B Amount 



Vintage Keys Operation Manual 209 



Appendix 
Presets 



Beat Preset 
Knob Function 



Arp Preset 
Knob Function 



Presets 



Preset Categories 



Movement Beats Busy 

Rate Beats Variation 

Movement Arp Gate 

Rate Arp Rate 



Vintage Pro comes standard with 512 ROM presets and 512 editable User 
preset locations. Presets are organized into banks of 128 presets each. User 
banks 0-3 are duplicates of VROM banks 0-3. 



The Vintage Pro presets are organized in categories according to the types of 
sound. Listed below are the categories and their three letter prefixes: 



arp: Arpeggiator preset 


kit: Drum Kit 


bpm: Tempo-based, LFO/Envs 


led: Leads 


bas: Bass instruments 


org: Organs 


brs: Brass instruments 


pad: Sustained, ethereal sound 


bts: BEATs preset 


pre: Percussion instrument 


cmb: Combination of instruments 


sfx: Sound Effect 


epo: Electric Piano 


str: Strings (violins, cellos, etc.) 


gtr: Guitar 


syn: Synthesizers 


jam: Play along with Audition Riff 


vox: Vocals 


key: Keyboard variations 


wnd: Wind instruments 



210 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 0, VROM Bank 



0. 


syn:Vintage 


43. 


epo:String EP 


1. 


epo:Classic EP 


44. 


epo:MetalBars 


2. 


epo:CP Seventy 


45. 


epo:MetalBarsXfd 


3. 


epo:Wurly 


46. 


epo:EP Silver 


4. 


key:Clavinet 


47. 


epo:Canada 


5. 


org:B-3 OvrDrive 


48. 


epo:Toyo 


6. 


epo:Mello Tines 


49. 


epo:MarshMello 


7. 


vox:BigTronChoir 


50. 


epo:Mello EP1 


8. 


led:BeginAgain 


51. 


epo:Mello EP2 


9. 


bas:TaurusPedals 


52. 


epo:Mellow Pop 


10. 


stnTron Violins 


53. 


epo:OB Tine EP 


11. 


brs:'99 Brass 


54. 


epo:OB EP 


12. 


syn:SEM 


55. 


epo:FM Tines 


13. 


syn:Airscopix 


56. 


epo:FM SimpleEP 


14. 


syn:OB Glider 


57. 


epo:FM Delicate 


15. 


kit:Electra 


58. 


epo:FM Phase 


16. 


syn:Analogic 


59. 


epo:FM Flanger 


17. 


epo:Dyno Vox 


60. 


epo:Dynamic FM 


18. 


epo:CP Pad 


61. 


epo:Analog FM 


19. 


org:Jazz Pro 


62. 


epo:Wurlilayer 


20. 


key:Clav Flanger 


63. 


epo:Mama'sWurli 


21. 


org:01d Red Top 


64. 


epo:Real CP 


22. 


pad:Sentinels 


65. 


epo:ClassicCP 


23. 


vox: Light Aahs 


66. 


epo:CP 70 


24. 


syn:Back at U 


67. 


epo:CP Layer 


25. 


bas:Mini Snap 


68. 


epo:Vintage CP 


26. 


cmb:Flute/String 


69. 


epo:Rock CP 


27. 


brs:Thick Brass 


70. 


epo: Stage CP 


28. 


syn: Synth Stack 


71. 


epo:CP Light 


29. 


syn:OB-Xa 


72. 


epo:CP Tight 


30. 


brs:Tron Brass 


73. 


epo:CP Uptown 


31. 


kit:FusionMover 


74. 


epo:Lullaby 


32. 


epo:Dyno Piano 


75. 


epo:AOR Ballad 


33. 


epo:Chorus Dyno 


76. 


key:Clav 1 


34. 


epo:Lite Dyno 


77. 


key:Clav 2 


35. 


epo:Heavy Dyno 


78. 


key: Clav 3 


36. 


epo:StudioDynol 


79. 


key:Clavl&2 


37. 


epo:StudioDyno2 


80. 


key:StereoClav 2 


38. 


epo:DynoStcase 


81. 


key:Buzzy Clav 


39. 


epo:DynoChorus 


82. 


key:FunkMaster 


40. 


epo:Stereo EP 


83. 


key:PhaseClav 


41. 


epo:DynoOdd 


84. 


key:SynthClav 


42. 


epo:Dyno Soft 


85. 


key:PhaseClav2 



86. key:Phase Clav3 

87. key:TwoClavs 

88. key:ThinClav 

89. key:Clavsichord 

90. key:Monster Clav 

91. key:AnaClav 

92. key:Klav Mav 

93. key:WakTclav 

94. key:Clav Freak 

95. key:Kloid's Jam 

96. key: Clav Wah 1 

97. key:ClavWah2 

98. key: Clavicle 

99. key:P5Hrpsichrd 

100. key:Clavitzer 

101. org: All Out 

102. org:lst3 2ndPerc 

103. org:lst3 3rdPerc 

104. org:lst4 Vib 

105. org:lst4Vib2Perc 

106. org:lst4Vib3Perc 

107. org:Six Out 

1 08. org:Jazz'n Jimmy 

109. org:lst3HiDrBr 

110. org:lst3FullDist 

111. org:lst4VFullDis 

112. org:Pipe Organ 

113. org:Far Away 

114. org:Clicky 

115. org:Comp 

116. org:PortaVib 

117. org:PortaVibSt 

118. org:Shimmer 

119. org:OBX Organ 

120. org:PlasticOrg 

121. org:MelloCombo 

122. org:BrashCombo 

123. org:ComboTrem 

124. org:Dr. Please 

125. org:Grindo 

126. org:Smooth 

127. org:Perc Three 



Vintage Keys Operation Manual 21 1 



Appendix 
Preset Listing 



Preset Listing 



User Bank 1, VROM Bank 1 



0. 


syn:Wide OB 


43. 


syn:Robot cal960 


86. 


syn:Sawphony 


1. 


syn:P10 


44. 


syn:Glass Pipe 


87. 


syn:AnalogBell 


2. 


synjuno 


45. 


syn:Merlot 


88. 


syn:D Fiftease 


3. 


syn:Rogue 


46. 


syn:AirCommand 


89. 


syn:VS Ghost 


4. 


syn:Huge SEM 


47. 


syn:Ex-plorer 


90. 


syn:Now & Zen 


5. 


syn:Round Mini 


48. 


syn:Sneaker Flap 


91. 


syn:Metasynthl 


6. 


syn:Big Mini 


49. 


syn:Poly Mono 


92. 


syn:Metasynth2 


7. 


synjuno Pulse 


50. 


syn:Angel Eyes 


93. 


led:Sonic Six 


8. 


syn:10101 


51. 


syn:Little 


94. 


led:Muddy Sync 


9. 


syn:Profit/Loss 


52. 


syn:Lush 


95. 


led:RhaspyClickr 


10. 


syn:FuzzBell 


53. 


syn:OBeast Sync 


96. 


led:BigSoloSqr 


11. 


syn:Random OB 


54. 


syn:ArmyOJunos 


97. 


led:Pulse 


12. 


syn:PhaselAlert 


55. 


syn:OB Saw Octs 


98. 


led:ML2 


13. 


synJX Oct Split 


56. 


syn:Wall O Saws 


99. 


led:OBX SyncMono 


14. 


syn Juno OctSplit 


57. 


syn:TouchRez 


100. 


led:PortaLead 


15. 


syn:Syrupy JP 


58. 


syn:X Tron 


101. 


led:Power Mini 


16. 


syn:ProphetPiano 


59. 


syn:Shade Pad 


102. 


led:WickedSquare 


17. 


syn:ArpClarinet 


60. 


syn:Total Recall 


103. 


led:OverDrivel01 


18. 


synJupyPad 


61. 


syn:Ice Eyes 


104. 


led:Frank Stein 


19. 


syn:MoogShrtPuls 


62. 


syn:Enchanted 


105. 


led:Odd Lead 


20. 


syn:Poly ARP 


63. 


syn:Chimelope 


106. 


led:Soft&Round 


21. 


syn:SEM Bat Fuzz 


64. 


syn:S&Holding 


107. 


led:Glass Rim 


22. 


synjuno & DX 


65. 


syn:Runner 


108. 


led:Spike 


23. 


syn:Deep Sky 


66. 


syn:Weild 5ths 


109. 


led:Oh Boy 


24. 


syn:80zFuzzPad 


67. 


syn:NightTime 


110. 


led:JunoOvrDrive 


25. 


syn:P10 SkySweep 


68. 


syn:Perc Rouge 


111. 


led:OB Lead 


26. 


syn:Nephilim 


69. 


syn:MiniSaw Octs 


112. 


led:Mean Wheel 


27. 


syn:P5 PolySync 


70. 


syn:ProFive Octs 


113. 


led:PulseFlanger 


28. 


syn:OB Glider2 


71. 


syn:Arp Octs 


114. 


led:Zawi 


29. 


syn:Power Juno 


72. 


syn:Modular Octs 


115. 


led:Stinger 


30. 


syn:OBSEMFuzzl 


73. 


syn:Mucho Octs 


116. 


led:Raspy 


31. 


syn:OBSEMFuzz2 


74. 


syn:RogueSawOcts 


117. 


led:Mini Soul 


32. 


syn:Vin Syn 


75. 


syn:SySaPhUs 


118. 


led:SawsOf01d 


33. 


syn:Regbit 


76. 


syn:P5 Sync 1 


119. 


led:ThinPotent 


34. 


syn:Stabber 


77. 


syn:P5 Sync 2 


120. 


led:OB Pulser 


35. 


syn:Distant 


78. 


syn:P5 Sync 3 


121. 


led:Full Body 


36. 


syn:Synth Ringer 


79. 


syn:Morpheus 


122. 


led:Squawky OB 


37. 


syn: Late 80z 


80. 


syn:Synphonix 1 


123. 


led:Skware!! 


38. 


syn:Late 80z 2 


81. 


syn:Synphonix 2 


124. 


led:GrowlySynth 


39. 


syn:NoteOffChime 


82. 


syn:KotoRize 


125. 


led:Big ARP 


40. 


syn:Nunzio 


83. 


syn:Arp Axxe 


126. 


led:E-MU Modular 


41. 


syn:FiltrBrassl 


84. 


syn:Sin Brass 


127. 


led:Funky Junk 


42. 


syn:FiltrBrass2 


85. 


syn:Megasync 







212 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 2, VROM 

0. pad:ChifferPad 

1. pad:Thin Lad 

2. pad:Lunar 

3. pad:Believe 

4. pad:Angel Eyes 

5. pad:PreSamplers 

6. pad:Sentinels2 

7. pad:Ghost Vox 

8. pad:O.D. 

9. pad:Liquid 1 

10. pad:Liquid 2 

11. pad:Liquid 3 

12. pad:Beauteous 

13. pad:ProfitMargin 

14. pad:Tri Res 

15. pad:QuietSaws 

16. pad:Lunar 2 

17. pad:Slippery 

18. pad:Matches 

19. pad:PolyPad 

20. pad:iBubble 

21. pad:M12 Skyline 

22. pad:Raindance 

23. pad:Horizons 

24. pad:Big Pad 

25. pad:SlitherPad 

26. pad:HarshSwell 

27. pad:Grainy 

28. pad:GrimFemVox 

29. pad:Pipey 

30. pad:Organ Synth 

31. pad:Fem Strings 

32. str:MemMoogStrng 

33. stnSolina 

34. str:Elka Combo 

35. str:SuperElka 

36. str:Lush70'sFade 

37. str:BigM12 

38. str: Ensemble 

39. str:Muffled 

40. stnSepiatone 

41. str:Analog Harp 

42. stnOldTimel 



Bank 2 



43. 


str:01d Time2 


86. 


wnd:Flooting 


44. 


str:01d Time3 


87. 


wnd:Dark Satyr 


45. 


str:String Vox 


88. 


wnd: Reedy 


46. 


str: String Flute 


89. 


cmb:Produkshun 


47. 


str:VeloBows 


90. 


cmb:CP/Strings 


48. 


str:String Box 


91. 


cmb:FM/Strings 


49. 


str:Elka & Mtron 


92. 


cmb:EPJunoTron 


50. 


stnCelli Sect 


93. 


cmb:Juno/P5 


51. 


str:Smooth&Wide 


94. 


cmb:TronVoxStrng 


52. 


str:String Fever 


95. 


cmb:Str & Brass 


53. 


stnlts The Pitz 


96. 


cmb:Dyno B to B 


54. 


str:ClosetCleanR 


97. 


cmb:Flute&String 


55. 


str:String Cheez 


98. 


cmb:B3/EP 


56. 


str:Filtron 


99. 


cmb:PulseMadness 


57. 


vox:Tron Males 


100. 


cmb:Rogue Mini 


58. 


vox:Cluttex 


101. 


cmb:Taurus&Strng 


59. 


vox:SnowBound 


102. 


cmb :TarusStngVox 


60. 


vox:Chiffer 


103. 


cmb:Gymnosticks 


61. 


vox:BreathBlow 2 


104. 


cmb:Wurli & Roti 


62. 


vox:TronMalesSt 


105. 


cmb:Dyn Logic 


63. 


vox:TronMixSt 


106. 


cmb:TV Stack 


64. 


vox:VS Ghost 


107. 


cmb:Wurly B 


65. 


vox:ThroatEnergy 


108. 


cmb:SynStr+SynBs 


66. 


vox:TalkBox Pro 


109. 


cmb:Many Junos 


67. 


vox:Moon Flute 


110. 


cmb:80sStackBass 


68. 


brs:FullTrnBrass 


111. 


cmb:GtrStrings 


69. 


brs:WindyBrass 


112. 


cmb:C P R 


70. 


brs:E2 Brass 


113. 


cmb:MachineHeart 


71. 


brs:Big Swell 


114. 


jam:DX Style 


72. 


brs:Big Swell 2 


115. 


jam:CP Stage 


73. 


brs:Rich Brass 


116. 


jam:Clav 


74. 


brs:ElegantBrass 


117. 


jam: Lush 


75. 


brs:F-Hrns 


118. 


jam: Latin 


76. 


brs:Coronation 


119. 


jam:Funkersize 


77. 


brs:HugeOB Brass 


120. 


bpm:Beat Row 1 


78. 


brs:BrassKicker 


121. 


bpm:Beat Row 2 


79. 


brs:Brassitude 


122. 


bpm: Spinner 


80. 


wnd:StereoMtron 


123. 


bpm:El Effo Sr. 


81. 


wnd:Flute Sect 


124. 


bpm:QNoiz Klock 


82. 


wnd:Tron Flute 


125. 


bpm:S/H Operator 


83. 


wnd:Flute Bed 


126. 


bpm:Q PulseKlock 


84. 


wnd:SoftFlutes 


127. 


bpm:RoboJive 


85. 


wnd:LoFi Flute 







Vintage Keys Operation Manual 213 



Appendix 
Preset Listing 



Preset Listing 



User Bank 3, VROM 

0. bas:Big Taurus 

1. bas:Big FM Bass 

2. bas:Bottom 101 

3. bas:Warm SEM 

4. bas:Arpy Bass 

5. bas:Mini Snap 2 

6. bas:Arp Snap 

7. bas:BigSnap 

8. bas:FatFingers 

9. bas:Deep End 1 

10. bas:Deep End 2 

11. bas:Wide & Deep 

12. bas:ThiklySettld 

13. bas:VintSynBassl 

14. bas:MurkySweep 

15. bas:LayerBass 

16. bas:Expressive 

17. bas:Taurnado 

18. bas:Picote 

19. bas:Finger 

20. bas:Pilot 

21. bas:Hummer 

22. bas:Bagg 

23. bas:TS Mini 

24. bas:MonoMe 

25. bas:MonoMe2 

26. bas:Bounce 

27. bas:303 Saws 

28. bas:303 Squares 

29. bas:Phatt Taurus 

30. bas:So Lo Pro 

31. gtr:Hackettism 

32. gtr:Spy vs Spy 

33. gtr:AirGuitar 

34. gtnHit It 

35. gtr:Wacka 1 

36. gtr:Wacka 2 

37. gtrjazzy 

38. gtr:Clav Guitar 

39. gtr:HarmonicTone 

40. sfx:Evil Saws 

41. sfx:DragonBreath 

42. sfx:SpaceMuffin 



Bank 3 

43. sfx:GorgeousCrzy 

44. sfx:Nepatunism 

45. sfx:The Dead See 

46. sfx:Hold Up 

47. sfx:The Garden 

48. sfx:Acid Rain 

49. sfx:NoZ 

50. arp:Loopy Gruv 

51. arp:Drifter 

52. arp:Classic 

53. arp:Downtown 

54. arp:Khord 

55. arp:Tracker 

56. arp:MinorHorns 

57. arp:Sparkle 

58. arp:DrumPitchy 

59. arp:SquareThumpr 

60. arp:MinorFinale 

61. arp:HiPassCmputr 

62. arp:EMU 2 Live! 

63. arp:BowCircuit 

64. arp:HardRepeat 

65. arp:Tribal Toms 

66. arp:DrumRoller 

67. arp:ZipTripper 

68. arp:Log Funk 

69. bts:FastRock 

70. bts:RockFunk 

71. bts:Shuffle 

72. bts:Chill Room 

73. bts:Teardrop 

74. bts:Evolution 

75. bts:The Pulse 

76. bts:Dreamland 

77. bts:Fusion 

78. btsjazz 

79. bts:DropBeatBglu 

80. kit:Acoustic GM 

81. kit: Acoustic 2 

82. kit:El GM Kit 1 

83. kit:El GM Kit 2 

84. kit:808 

85. kit:909 



86. kit:MS20 

87. kit:MS20 #2 

88. kit:SK-l 

89. kit:SP1200 

90. kit:Electronic 1 

91. kit:Electronic 2 

92. kit:Electronic 3 

93. kit:Electronic 4 

94. kit:Electronic 5 

95. kit:HighBoy 

96. kit:Double Kit 

97. kit:VintagePhase 

98. kit:Flashback 

99. kit:Stadium 

100. kit: Soft Fuzz 

101. kitNickleMix 

102. kit: Soul Power 

103. kitBeefCake 

104. kit:BrightMoment 

105. kit: Lil Popper 

106. kitlnTheAir 

107. kit:B Boy 

108. pre: All Kicks 

109. pre: All Snares 

110. pre: All Toms 

111. preAHHats 

112. pre: All Cymbals 

113. prc:Shakers 

114. prc:Snaps 

115. prc:Congas 

116. prc:Misc 

1 1 7. prc:Few ChoreMen 

118. prcSteeely 1 

119. prc:Steeely 2 

120. pre: Arnold 1 

121. prc:8bit Blocks 

122. pre: Air Strike 

123. bts:Reggae 

124. pre: A Sine 

125. bts:NeoLatinRock 

126. bts:NuRocker 

127. :Defaultvl.O 



214 E-MU Systems 



Appendix 
Instrument Listing 



Instrument 
Listing 



This section lists the raw instruments in the Vintage Pro ROM set. 
The instruments are either multisamples or single samples. 



0. :None 

1. epo:Dyno EP 1 

2. epo:Dyno EP 2 

3. epo:Dyno EP 3 

4. epo:Dyno EP 4 

5. epo:Dyno Low 

6. epo:Dyno Med 

7. epo:Dyno Hd/Med 

8. epo:Dyno Lw/Hd 

9. epo:Dyno Hard 

10. epo:MelloEP 

11. epo:Mello EP Low 

12. epo:Mello EP Hd 

13. epo:Wurly EP 

14. epo:Wurly Soft 

15. epo:Wurly Medium 

16. epo:Wurly Hard 

17. epo:CP70 

18. epo:CP70 Medium 

19. epo:CP70Hard 

20. epo:FM EP 

21. org:lst3 Slow 

22. org:lst3 Fast 

23. org:lst4 Slow vb 

24. org:AHOutSlwDst 

25. org:AHOutFstDst 

26. org:Perc 2nd 

27. org:Perc 3rd 

28. org:Farfisa 

29. org: Vox Jaguar 

30. key:Clavinet 1 

31. key:Clavinet 2 

32. syn:OB WideBrass 

33. syn:OBXPWM 

34. syn:OBSawPWM 

35. syn:OB PulseSync 

36. key:OB Clav 

37. epo:OBEP 

38. syn:SEM Fuzz 

39. syn:SEM Saws 

40. syn: Rogue Saws 

41. syn: Rogue Sqr 



42. syn:Classic Mini 

43. syn:Mini Saws 

44. syn:JP8Brass 

45. syn:SuperJuno 

46. syn:BigJX 

47. syn:Angry Juno 

48. syn:P10 Big 

49. syn:P10 Fat Saw 

50. syn:P5 Sync 

51. syn:P5 UniSync 

52. syn:P5 Uni Saw 

53. syn:P5 Piper 

54. syn:M12 Lead 

55. syn:ARP SyncMod 

56. syn:ArpPlsRsmp 

57. syn:Arp Saw 

58. syn:Arp Square 

59. syn: Sync Wah 

60. syn:101VariPulse 

61. syn:E-mu Modular 

62. bas:Fat Taurus 

63. bas:Taurus Osc. 

64. bas:SEM QBass 1 

65. bas:SEM QBass 2 

66. bas:SEM QBass 3 

67. bas:SEMSyncBs 1 

68. bas:SEMSyncBs 2 

69. bas:MiniSnapBass 

70. bas:M WarmSquare 

71. bas:PPGBass 

72. bas:PPG DigiBass 

73. bas:P5 Bass 

74. bas:ArpFatBass 

75. bas:DX EP Bass 1 

76. bas:DX EP Bass 2 

77. bas:FM Bass 

78. bas:FM Polybass 

79. bas:Synth Hummer 

80. bas:Pilot 

81. bas:Bagg 

82. bas:Finger 

83. gtr:Electric 



84. gtr:Happy Strum 

85. gtr:Wacka 1 

86. gtr:Wacka 2 

87. str:Tron Strings 

88. str:M12 Strings 

89. str:Solina 

90. str:Elka Cello 

91 . str:Elka String 

92. str:Elka Combo 

93. str:Synth String 

94. vox:Tron Males 

95. vox:Tron Females 

96. vox:Tron Mix 

97. vox:P10 Choir 

98. vox:Flight Aahs 

99. brs:Tron Brass 

100. wnd:Tron Flute 

101. wav:MiniTriangle 

1 02. wav:Mini Saw 

103. wav:Mini Square 

104. wav:Mini Pulse 1 

105. wav:Mini Pulse 2 

1 06. wav:JX Square 

107. wav:JX Saw 

108. wav:JX Pulse 

109. wav:Juno Square 

110. wavjuno Saw 

111. wavjuno Pulse 

112. wav:P10 Saw 

113. wav:P10 Triangle 

114. wav:P10 Pulse 

115. wav:P10Inharmonc 

116. wav:JX 

117. wav:101 Square 

118. wav:101 Saw 

119. wav:Sine 

120. wav:Sine Squared 

121. wav:Sine InvSqrd 

122. wav:Sine Cubed 

123. wav:SineInvCubed 

124. wav: Aluminum 

125. nse:Spectrum 1 



Vintage Keys Operation Manual 215 



Appendix 
Instrument Listing 



Instrument Listing 



126. 


nse:Spectrum 2 


170. 


prcMisc 


127. 


nse:Spectrum 3 


171. 


prcKick 1 


128. 


nse:Spectrum 4 


172. 


prcKick 2 


129. 


nse:Hi Pass 


173. 


prcKick 3 


130. 


nse:Xcite HiPass 


174. 


prcKick 4 


131. 


nse:White Noise 


175. 


prcKick 5 


132. 


nse:Pink Noise 


176. 


prcKick 6 


133. 


nse:101 Noise 


177. 


prcKick 7 


134. 


sfx: Whine 


178. 


prcKick 8 


135. 


sfx:Clav Tick 


179. 


prcKick 9 


136. 


sfx:Tack Attack 


180. 


prcKick 10 


137. 


sfx:Bad Synth 


181. 


prcKick 11 


138. 


sfx: Cluster Vox 


182. 


prcKick 12 


139. 


sfx:Kluster Loop 


183. 


prcKick 13 


140. 


kitElectro GM 1 


184. 


prcKick 14 


141. 


kit:Electro GM 2 


185. 


prcKick 15 


142. 


kit: 808 


186. 


prcKick 16 


143. 


kit:909 


187. 


prcKick 17 


144. 


kit:MS20 


188. 


prcKick 18 


145. 


kit:MS20 #2 


189. 


prcKick 19 


146. 


kit:SK-l 


190. 


prcKick 20 


147. 


kit:SP1200 


191. 


prcKick 21 


148. 


kit:Electronic 1 


192. 


prcKick 22 


149. 


kit:Electronic 2 


193. 


prcKick 23 


150. 


kit:Electronic 3 


194. 


prcKick 24 


151. 


kit:Electronic 4 


195. 


prcKick 25 


152. 


kit:Electronic 5 


196. 


prcSnare 1 


153. 


kit:Electronic 6 


197. 


prcSnare 2 


154. 


kit:Electronic 7 


198. 


prcSnare 3 


155. 


kit:Electronic 8 


199. 


prcSnare 4 


156. 


kit:Acoustic GM 


200. 


prcSnare 5 


157. 


kit:Acoustic 2 


201. 


prcSnare 6 


158. 


kit:Acoustic 3 


202. 


prcSnare 7 


159. 


kit:Acoustic 4 


203. 


prcSnare 8 


160. 


kitjazz Brush 


204. 


prcSnare 9 


161. 


kit:Hybrid 


205. 


prcSnare 10 


162. 


prc:All Kicks 


206. 


prcSnare 11 


163. 


prc:All Snares 


207. 


prcSnare 12 


164. 


prc:All Toms 


208. 


prcSnare 13 


165. 


prc:All Hats 


209. 


prcSnare 14 


166. 


prc:All Cymbals 


210. 


prcSnare 15 


167. 


prcShakers etc 


211. 


prcSnare 16 


168. 


prc:Snaps etc 


212. 


prcSnare 17 


169. 


prcCongas etc 


213. 


prcSnare 18 



214. pre: 

215. pre: 

216. pre: 

217. pre: 

218. pre: 

219. pre: 

220. pre; 

221 . pre; 

222. pre; 

223. pre: 

224. pre: 

225. pre: 

226. pre: 

227. pre: 

228. pre: 

229. pre: 

230. pre: 

231 . pre: 

232. pre: 

233. pre: 

234. pre: 

235. pre: 

236. pre: 

237. pre: 

238. pre: 

239. pre: 

240. pre: 

241 . pre: 

242. pre: 

243. pre: 

244. pre: 

245. pre: 

246. pre: 

247. pre; 

248. pre: 

249. pre: 

250. pre: 

251 . pre: 

252. pre: 

253. pre: 

254. pre: 

255. pre: 

256. pre: 

257. pre: 



Snare 19 
Snare 20 
Snare 21 
Snare 22 
Snare 23 
Snare 24 
Snare 25 
Snare 26 
Snare 27 
Snare 28 
Snare 29 
Snare 30 
Snare 31 
Snare 32 
Snare 33 
Snare 34 
Snare 35 
Tom 1 
Tom 2 
Tom 3 
Tom 4 
Tom 5 
Tom 6 
Tom 7 
Tom 8 
Tom 9 
Tom 10 
Tom 11 
Tom 12 
Tom 13 
Tom 14 
Tom 15 
Tom 16 
Tom 17 
Hat 1 
Hat 2 
Hat 3 
Hat 4 
Hat 5 
Hat 6 
Hat 7 
Hat 8 
Hat 9 
Hat 10 



216 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



>0 The Percussion 
Instruments on this page are 
single sample instruments 
stretched across the entire 
keyboard. 



258. pre: 

259. pre: 

260. pre: 

261. pre: 

262. pre: 

263. pre: 

264. pre: 

265. pre: 

266. pre: 

267. pre: 

268. pre: 

269. pre: 

270. pre: 

271. pre: 

272. pre: 

273. pre: 

274. pre: 

275. pre: 

276. pre: 

277. pre: 

278. pre: 

279. pre: 

280. pre: 

281. pre: 

282. pre: 

283. pre: 

284. pre: 

285. pre: 

286. pre: 

287. pre: 

288. pre: 

289. pre: 

290. pre: 

291. pre: 

292. pre: 

293. pre: 

294. pre: 

295. pre: 

296. pre: 

297. pre: 

298. pre: 

299. pre: 

300. pre: 

301. pre: 

302. pre: 



Hat 11 
Hat 12 
Hat 13 
Hat 14 
Hat 15 
Hat 16 
Hat 17 
Hat 18 
Hat 19 
Hat 20 
Hat 21 
Hat 22 
Hat 23 
Hat 24 
Hat 25 
Hat 26 
Hat 27 
Cymbal 1 
Cymbal 2 
Cymbal 3 
Cymbal 4 
Cymbal 5 
Cymbal 6 
Cymbal 7 
Cymbal 8 
Cymbal 9 
Cymbal 10 
Cymbal 11 
Cymbal 12 
Cymbal 13 
Cymbal 14 
Cymbal 15 
Cymbal 16 
Vibraslap 
Clave 1 
Clave 2 
Clave 3 
Cowbell 1 
Cowbell 2 
Cowbell 3 
Cowbell 4 
Tamb 1 
Tamb2 
Triangle 1 
Triangle 2 



303. pre 

304. pre 

305. pre 

306. pre 

307. pre 

308. pre 

309. pre 

310. pre 

31 1 . pre 

312. pre 

313. pre 

314. pre 

315. pre 

316. pre 

317. pre 

318. pre 

319. pre 

320. pre 

321. pre 

322. pre 

323. pre 

324. pre 

325. pre 

326. pre 

327. pre 

328. pre 

329. pre 

330. pre 

331. pre 

332. pre 

333. pre 

334. pre 

335. pre 

336. pre 

337. pre 

338. pre 

339. pre 

340. pre 

341. pre 

342. pre 

343. pre 

344. pre 

345. pre 

346. pre 

347. pre 



:Whistle 
Shaker 1 
Shaker 2 
Shaker 3 
Shaker 4 
Shaker 5 
Shaker 6 
Shaker 7 
Shaker 8 
Shaker 9 
Shaker 10 
Shaker 11 
Shaker 12 
Shaker 13 
Shaker 14 
Shaker 15 
Shaker 16 
Shaker 17 
Shaker 18 
Shaker 19 
Shaker 20 
Shaker 21 
Shaker 22 
Shaker 23 
Shaker 24 
Shaker 25 
Clap 1 
Clap 2 
Clap 3 
:Clap 4 
Clap 5 
Clap 6 
Clap 7 
Snap 
Conga 1 
Conga 2 
Conga 3 
Conga 4 
Conga 5 
Conga 6 
Conga 7 
Conga 8 
Conga 9 
Conga 10 
Conga 11 



348. 


prc:Conga 12 


349. 


prc:Conga 13 


350. 


prc:Conga 14 


351. 


prc:Conga 15 


352. 


prc:Misc 1 


353. 


prc:Misc 2 


354. 


prc:Misc 3 


355. 


prc:Misc 4 


356. 


prc:Misc 5 


357. 


prc:Misc 6 


358. 


prc:Misc 7 


359. 


prc:Misc 8 


360. 


prc:Misc 9 


361. 


prc:Misc 10 


362. 


prc:Misc 11 


363. 


prc:Misc 12 


364. 


prc:Misc 13 


365. 


prc:Misc 14 


366. 


prc:Misc 15 


367. 


prc:Misc 16 


368. 


prc:Misc 17 


369. 


prc:Misc 18 


370. 


prc:Misc 19 


371. 


prc:Misc 20 


372. 


prc:Misc 21 


373. 


prc:Misc 22 


374. 


prc:Misc 23 


375. 


prc:Big Hit 1 


376. 


prc:Big Hit 2 


377. 


prc:Scratch 1 


378. 


prc:Scratch 2 


379. 


sfx:Wakka 1 


380. 


sfx:Wakka 2 


381. 


sfx:Wakka 3 


382. 


sfx:Wakka 4 


383. 


sfx:Wakka 5 


384. 


sfx:Wakka 6 


385. 


sfx:Wakka 7 


386. 


sfx:Wakka 8 


387. 


sfx:Wakka 9 


388. 


sfx:Wakka 10 


389. 


sfx:Wakka 11 


390. 


sfx:Wakka 12 


391. 


sfx:Wakka 13 


392. 


sfx:Wakka Map 



Vintage Keys Operation Manual 21 7 



Appendix 
Instrument Listing 



Instrument Listing 



393. sfx:Tick 1 

394. sfx:Tick2 

395. sfx:Tick3 

396. sfx:Tick4 

397. sfx:Tick5 

398. sfx:Tick 6 



399. sfx:Tick 7 

400. sfx:Tick 8 

401. sfx:Tick9 

402. sfx:Tick 10 

403. sfx:Tick 11 

404. sfx:Tick 12 



405. sfx:Tick 13 

406. bas: Bright Saw 

407. bas:BrightResSaw 

408. bas:BrightSquare 

409. bas:Res Square 



218 E-MU Systems 



Appendix 
Riff Listing 



Riff Listing 



1. AmUD-Cl (4 bars) 

2. AUD-C3 (1 bar) 

3. AUD-C3 (2 Bars) 

4. AUD-C3 (4 Bars) 

5. AUD-C4 

6. AUD-C Triad 

7. AUD-Cm7 

8. AUD-Cm9 

9. AUD-Cmaj7 

10. AUD-CsUp 

11. AUD-Cs Up-Down 

12. ARP-Classic 

13. ARP-Downtown 

14. BAS-Arp Snap 

15. BAS-ArpyBass 

16. BAS-Arpy Bass2 

17. BAS-Bagg 

18. BAS-Bagg 2 

19. BAS-Big FM Bass 

20. BAS-Big Taurus 

21. BAS-Big Taurus2 

22. BAS-BigSnap 

23. BAS-BigSnap2 

24. BAS-Bottom 101 

25. BAS-Bottom 101 2 

26. BAS-Deep End 1 

27. BAS-Deep End 2 

28. BAS-Expressive 

29. BAS-Finger 

30. BAS-Hummer 

31. BAS-Hummer 2 

32. BAS-Mini Snap 

33. BAS-Mini Snap 2 

34. BAS-MurkySweep 

35. BAS-Picote 

36. BAS-Picote2 

37. BAS-Pilot 

38. BAS-Taurnado 

39. BAS-TaurusPedals 

40. BAS-ThiklySettled 

41. BAS-TSMini 

42. BRS-Big Swell 2 

43. BRS-E2 Brass 

44. BRS-E2Brass2 



45. BRS-FullTrnBrass 

46. BRS-Thick Brass 

47. BRS-ThickBrass 

48. BRS-Windy Brass 

49. CMB-B3EP 

50. CMB-PulseMadness 

51 . CMB-Rogue Mini 

52. CMB-Taurus&Strng 

53. CMB-Flute&String 

54. EPO-AnalogFM 

55. EPO-ChorusDyn2 

56. EPO-ChorusDyno 

57. EPO-Classic CP 

58. EPO-CP Layer 

59. EPO-CP Layer2 

60. EPO-CP70 

61. EPO-CP70 2 

62. EPO-Dyno 

63. EPO-Dyno 2 

64. EPO-DynoChorus 

65. EPO-DynoOdd 

66. EPO-DynoSftl 

67. EPO-DynoStcase 

68. EPO-Fm Flanger 

69. EPO-FM Phase 1 

70. EPO-FM Phase 2 

71. EPO-FMDelicate 

72. EPO-Heavy Dyno 

73. EPO-MarshMello 

74. EPO-LiteDyno 

75. EPO-Lullaby 

76. EPO-Mama'sWurli 

77. EPO-MelloEPl 

78. EPO-MelloEP2 

79. EPO-Mellow Pop 

80. EPO-MetalBars 

81. EPO-OBEP 

82. EPO-OBEP 2 

83. EPO-OBTineEP 

84. EPO-RealCP 

85. EPO-Studio EP 

86. EPO-The CP70 

87. EPO-Vintage CP 

88. EPO-Wurlilayer 



89. EPO-Wurlilayer2 

90. EPO-Wurly 

91. EPO-Wurly 2 

92. GTR-Hackettism 

93. GTR-Hackettism2 

94. GTR-Hitlt 

95. GTR-Jazzy 

96. GTR-SpyvsSpy 

97. GTR-SpyvsSpy2 

98. GTR-Wacka 

99. KEY-Buzzy Clav 

100. KEY-Clav 1 

101. KEY-Clav2 

102. KEY-Clavl&2 

103. KEY-Clav2 Phase 

104. KEY-Funk Master 

105. KEY-FunkMaster 

106. KEY-PhaseClavl 

107. KEY-StereoClav 1 

108. KEY-Synth Clav 

109. KEY-TwoClavs 

110. LED-BeginAgain 

111. LED-Frank Stein 

112. LED-JunoOvrDrive 

113. LED-M12 

114. LED-Mean Wheel 

115. LED-OverDrivelOl 

116. LED-PortaLead 

117. LED-Power Mini 

118. LED-Pulse 

119. LED-Pulse 2 

120. LED-Soft&Round 

121. LED-WickedSquare 

122. ORG-lst3 2 

123. ORG-lst3 2ndPerc 

124. ORG-lst3 3rdPerc 

125. ORG-lst3FullDist 

126. ORG- lst4 Vibrato 

127. ORG-AllOut 

128. ORG-B3 Rockl 

129. ORG-B3 Rock2 

130. ORG-Distortion 

131. ORG-Distortion 2 

132. ORG-FarAway 



Vintage Keys Operation Manual 219 



Appendix 
Riff Listing 



Riff Listing 



133. ORG-MelloCombo 

134. ORG-PortaVib 

135. ORG-PortaVib 2 

136. PAD-Annunaki 

137. PAD-Believe 

138. PAD-Chiffer 

139. PAD-Lunadef 

140. PAD-Lunadef 2 

141. PAD-Lunadef 3 

142. PAD-Lunadef 4 

143. PAD-Matches 

144. PAD-ProfitMargin 

145. PAD-QuietSaws 

146. PAD-Sentinels 

147. PAD-ThinLad 

148. PRC -Arnold 1 

149. PRC-Few ChoreMen 

150. PRC-Steeely 
151.PRC-Steeely 1 

152. SFX-DragonBreath 

153. SFX-EvilSaws 

154. STR- Analog Harp 

155. STR-BigM12 

156. STR-Elka Combo 

157. STR-Lush70'sFade 

158. STR-Lush70sFade2 

159. STR-Sepiatone 

160. STR-Sepiatone2 

161. STR-Smooth&Wide 

162. STR-Solina 

163. STR-String Box 

164. STR-VeloBows 

165. SYN-10101 

166. SYN-80zFuzzPad 

167. SYN-80zFuzzPad2 

168. SYN-Big Mini 

169. SYN-ElEffoSr 

170. SYN-FuzzBell 
171.SYN-HugeSEM 

172. SYN-Juno 

173. SYN-Juno Pulse 

174. SYN-Late 80z 

175. SYN-Monster Clav 

176. SYN-Morpheus 



1 77. SYN-Nephilim 221 . KIT-Kit 03 

178. SYN-NoteOffChime 222. KIT-Kit 04 

179. SYN-NoteOffChme2 223. KIT-Kit 05 

180. SYN-Nunzio 1 224. KIT-Kit 06 

1 81 . SYN-Nunzio 2 225. KIT-Kit 07 

182. SYN-Nunzio 3 226. KIT-Kit 08 

183. SYN-OB Glider 227. KIT-Kit 09 

184. SYN-OBSEMFuzz 228. KIT-Kit 10 

185. SYN-ProphetPiano 229. KIT-Kit 11 

186. SYN-P Ten 230. KIT-MS20 

187. SYN-P10 231.KIT-SK-1 

188. SYN-P10 SkySweep 232. KIT-SK-1 2 

189. SYN-P5 PolySync 233. KIT-Soft Fuzz 

1 90. SYN-Merlot 234. KIT-SP 1 200 

191. SYN-Phase 1 Alert 235. BTS-Acoustic 

192. SYN-PortaLead 236. BTS-Acoustic 4 

1 93. SYN-Power Juno 237. BTS-Brick 

194. SYN-Random OB 238. BTS-Chill Room 

195. SYN-Regbit 239. BTS-Clav 

196. SYN-Rogue 240. BTS-CPStage 

1 97. SYN-Round Mini 241 . BTS-Dreamland 

198. SYN-Runner 242. BTS-Dropbeat 

199. SYN-SawsofOld 243. BTS-DropBeatBglu 

200. SYN-Syrupy 244. BTS-DX Style 

201. SYN-TouchRez 245. BTS-Evolution 

202. SYN-Wall O Saws 246. BTS-Fast Rocker 

203. SYN-Wide OB 247. BTS-Fast Rocker 2 

204. SYN-Wide OB 2 248. BTS-Fusion 

205. VOX-BigTronChoir 249. BTS-Jazz 

206. VOX-Light Aahs 250. BTS-Lush 

207. VOX-Light Aahs 2 251 . BTS-NeoLatinRock 

208. VOX-Light Aahs 3 252. BTS-NuRocker 

209. WND-LoFi Flute 253. BTS-Reggae 

210. WND-StereoMtron 254. BTS-Rock 

21 1 . WND-Tron Flute 255. BTS-Rock 2 

212. WND-Tron Flute2 256. BTS-Shuffle 

213. KIT- Acoustic 2 257. BTS-Teardrop 

214. KIT-DoubleKit 258. BTS-The Pulse 

215. KIT-E1 GM Kit 1 259. BTS-Latin 

216. KIT-Electronic 3 260. BTS-Funkersize 

217. KIT-Flashback 

218. KIT-HighBoy 

219. KIT-Kit 01 

220. KIT-Kit 02 



220 E-MU Systems 



Appendix 
Keyboard Velocity Curves 



Keyboard 

Velocity 

Curves 



>0 For more information 
about the velocity curves, see 
page 73. 



The keyboard velocity curves modify the response of the Vintage Keys 
keyboard to adapt to your personal playing style. The "Keyboard Velocity 
Curve" selection screen is located in the Controllers menu. 




20 40 60 80 100 120 

Soft + Hard 




20 40 60 80 100 120 

Soft "^ Hard 




20 40 60 80 100 120 

Soft ^ Hard 




20 40 60 80 100 120 



Soft 



Hard 




20 40 60 80 100 120 



Soft 



Hard 




20 40 60 80 100 120 

Soft ^- Hard 



Vintage Keys Operation Manual 221 



Appendix 
Keyboard Velocity Curves 



Keyboard Velocity 
Curves 




20 40 60 80 100 120 

Soft ^ Hard 




20 40 60 80 100 120 

Soft ^^ Hard 




20 40 60 80 100 120 

Soft ^^ Hard 




20 40 60 80 100 120 

Soft ^^ Hard 




20 40 60 80 100 120 

Soft ^^ Hard 




20 40 60 80 100 120 

Soft ^^- Hard 



222 E-MU Systems 



Appendix 
Keyboard Velocity Curves 



Keyboard Velocity 
Curves 



120 



-t-J 


100 


u 




o 






Kll 


CI J 




> 




4-J 


60 


D 




4-J 


40 


D 




o 


20 








Medium 8 



20 40 60 80 100 120 



Soft 



Hard 




20 40 60 80 100 120 



Soft 



Hard 



120 



-t-J 


100 


<_) 




n 




Q) 


80 


> 




-t-J 


60 


_3 




CL 

4-J 


40 


D 




o 


20 



All 127 



20 40 60 80 100 120 

Soft ^+- Hard 

Outputs velocity 1 27 only 



120 



-t-J 


100 


<_) 




n 






Kll 


<u 




> 




4-> 


60 


3 




CL 


40 


3 




O 


20 








Loud 1 



20 40 60 80 100 120 



Soft 



Hard 



>, 




4-J 


100 


u 




o 






Kll 


<1J 




> 




4-J 


60 


D 




Q. 

-t-j 


40 


3 




o 


20 








All 64 



20 40 60 80 100 120 

Soft ^+» Hard 

Outputs velocity 64 only 



Vintage Keys Operation Manual 223 



Appendix 
Master Velocity Curves 



Master 

Velocity 

Curves 

>0 For more information 
about the velocity curves, see 
page 73. 



This section provides diagrams and descriptions of the master velocity 
curves. The master velocity curves modify the velocity values from the 
MIDI input port and the keyboard before going into the synthesizer engine. 




20 40 60 80 100 120 

Input Velocity 

Linear - No Change to Velocity 




20 40 60 80 100 120 

Input Velocity 

Expands Dynamics in low range, 
emphasizing medium velocity 
values and compressessing high 
velocity values. 




20 40 60 80 100 120 

Input Velocity 

Expands Velocity Range. 
Outputs High Values. 




20 40 60 80 100 120 

Input Velocity 

Compresses Velocity Range 




20 40 60 80 100 120 

Input Velocity 

Expands Velocity Range. 
Soft -> Loud 




20 40 60 80 100 120 

Input Velocity 

Shifts Velocity Values Upward. 
Good Dynamic Range. 



224 E-MU Systems 



Appendix 
Master Velocity Curves 



Master Velocity 
Curves 




20 40 60 80 100 120 

Input Velocity 

Shifts Velocity Values Up, while 
compressing the midde range 




20 40 60 80 100 120 

Input Velocity 

Similar to Curve 6. 




20 40 60 80 100 120 

Input Velocity 

Similar to number 6 with more 
emphasis on the middle range. 




20 40 60 80 100 120 

Input Velocity 

Extreme Dynamic Range 
Compression. 




20 40 60 80 100 120 

Input Velocity 

Extreme Dynamic Range 
Compression. Outputs Low Values. 




20 40 60 80 100 120 

Input Velocity 

Extreme Dynamic Range 

Compression, but doesn't 

output low values. 



Vintage Keys Operation Manual 225 



Appendix 
Patchcord Amount Chart 



Patchcord 
Amount Chart 





20 40 60 80 100 120 

Input Velocity 

Less Severe Version of Curve 1 1 . 



20 40 60 80 100 120 

Input Velocity 

Extreme Expansion of Velocity 
Range. 



The following chart shows the Patchcord "Amount" settings in order to get 
semitone intervals when modulation sources are connected to pitch. 



Semitone 


Patchcord 
Amount 


Semitone 


Patchcord 
Amount 


1 


3 


21 


66 


2 


6 


22 


69 


3 


approx. 9 


23 


approx. 72.5 


4 


approx. 12 


24 


approx. 76 


5 


16 


25 


79 


6 


19 


26 


82 


7 


22 


27 


88 


8 


25 


28 


91 


9 


28 


29 


approx. 95 


10 


approx. 31 


30 


98 


11 


35 


31 




12 


38 


32 




13 


41 


33 




14 


44 


34 




15 


47 


35 




16 


50 


36 




17 


approx. 53 


37 




18 


57 


38 




19 


60 


39 




20 


63 


40 





226 E-MU Systems 



Appendix 
E-MU Expansion Sound Sets 



EMU 
Expansion 
Sound Sets 





I Sit! 





; 


3/ ^^^^ 


Is 




Eleven different ROM expansions are currently available, with more being 
developed every day ROM expansions typically add 32MB of sound data 
and 512 additional presets. Adding new sounds is like getting a new 
instrument and a sure way to spark your creativity ROM Expansions are 
available from your E-MU dealer. Also check out the official E-MU website: 
www.emu.com for the latest sounds. 



Orchestral Sessions VOLUME 1 

The Orchestral Sessions Vol. 1 expansion 32 MB ROM offers you the most 
realistic and comprehensive collection of section strings available, 
complete with legato, spiccato, pizzicato and tremolande samples, and 
includes special presets for 4 speaker applications. 



Orchestral Sessions VOLUME 2 

The Orchestral Sessions Vol. 2 expansion 32 MB ROM offers you the most 
realistic and comprehensive collection of woodwinds, brass, percussion, 
and solo strings available, complete with velocity switching between p/mf/ 
ff samples, special presets for 4 speaker applications and a percussion 
battery with over 20 instruments. 



Siedlaczek Orchestra Special Edition 

The Peter Siedlaczek Advanced Orchestra Special Edition puts 32 MB of his 
finest ensembles onto a single expansion ROM for your Vintage Keys. 
String, brass, woodwind and percussion ensembles are included in a variety 
of styles (i.e. vibrato, tremolo, pizzicato, sordino, etc.), to give you a diverse 
collection of samples. 



Protozoa 

E-MU presents the 16 MB Protozoa expansion ROM — the ultimate sound 
compilation containing presets from the ground breaking Proteus sound 
modules, all optimized for your Vintage Keys's advanced synthesis and 
filter architecture. 



Sounds of the ZR 

The Sounds of the ZR Expansion ROM faithfully reproduces the diverse 
sounds of ENSONIQ's popular ZR-76 keyboard, including William Coakley's 
Perfect Piano. You'll find everything from synths and orchestral instru- 
ments to one of the finest pianos ever sampled in one soundset. 



Definitive B-3 

John Novello and E-MU present the 32 MB Definitive B-3 expansion ROM, 
a diverse collection of tone wheel organ drawbar settings sampled direct 
and with rotary speakers (chorale and tremolo) to give you the most 
versatile and playable B-3 available! 



Vintage Keys Operation Manual 227 



Appendix 
E-MU Expansion Sound Sets 










X-Lead 

The X-Lead soundset consists primarily of analog, noise and modern 
synthesizer waveforms. These sounds are rich in harmonic texture and are a 
perfect match with the Z-plane niters in your Proteus® family sound 
module. With the included software upgrade, you now have access to 
dynamic and rhythmic features not found on any other instrument. 

PURE PHATT 

The 32 MB Pure Phatt is E-MU's latest Hip-Hop soundset that produces the 
freshest and newest sounds and grooves from top notch producers from the 
East, Southeast and West coasts. Pumping leads and basses, silky pads and 
those unique hits, scratches and drones that your mix needs to bring it to 
the next level are ready to provide the love. 

World Expedition 

An amazing collection of traditional instruments from the four corners of 
the globe including exotic stringed instruments, winds, percussion, and 
chromatic percussion. World Expedition provides you with the most 
realistic ethnic soundset in the world. Discover a world of sounds to bring 
to your music. 

Techno Synth 

Rob Papen and E-MU introduce the 32 MB Techno Synth Construction Yard 
Expansion ROM, a compilation of synth, techno, and ambient sounds from 
one of Europe's finest programmers. From atmospheric pads to punchy sub- 
basses and crunch drum loops, these sounds will help you tear up the dance 
floor! 



Beat Garden 

Dutch sound designer Rob Papen and E-MU introduce the 32 MB Beat 
Garden expansion ROM, a diverse palette of all-new Electronica/Dance 
beats, synths, basses, drumkits, acoustic and electronic percussion. 
Experience the Beat Garden for yourself and add a unique dimension to 
your tracks. 

Proteus Pop Collection 

The 32 MB Proteus Pop Collection offers you all of the bread and butter 
sounds of E-MU's Proteus 2500 Module and PK-6 keyboard with 640 diverse 
presets covering everything from traditional keyboards and orchestral 
instruments to electric guitars, world percussion and drum kits. 

ENSONIQ Project 

The 32 MB ENSONIQ Project Expansion ROM delivers the sounds of 
ENSONIQ's acclaimed Urban Dance Project and Real World collections with 
the Hip-Hop and World sounds heard on countless hits, all optimized for 
E-MU's powerful synthesis and filter architecture. 



228 E-MU Systems 



Appendix 
Installing Sound SIMMs 



Installing 
Sound SIMMs 



Vintage Keys can be easily expanded to contain up to 128 MB of sound data 
(4 SIMMs). 



► Remove the ROM Hatch Cover: 



1. 



2. 



The sound SIMM sockets in Vintage Keys are located beneath a small 
hatch on the bottom panel. Unplug power from the unit and carefully 
turn it keyboard-side down on a soft, padded surface. 

The ROM hatch is a 125cm x 140cm rectangle secured by four screws. 
(You can't miss it.) Remove the four phillips head screws securing this 
hatch and place them and the hatch cover where they won't get lost. 



1. 



2. 



To Remove ROM SIMMs (if necessary): 

Orient the unit so that the rear panel is facing you. Ground yourself by 
touching a grounded object. (Such as the chassis of another piece of 
equipment connected to the wall socket with a three-prong power plug.) 

On each end of the SIMM socket there is a silver or plastic tab. Use a 
screwdriver or a ball point pen to squeeze the tabs toward the outside of 
the socket while gently nudging the SIMM toward the right side of the 
unit. The old SIMM should "hinge" to the right and can now be 
removed. 



1. Set SIMM into 
socket with the 
notch toward front 
of unit. 




Tilt the SIMM up 
so that both tabs 
click and lock the 
SIMM into place. 



Vintage Keys Operation Manual 229 



Appendix 
Installing Sound SIMMs 



► Install a New ROM SIMM 

1. Ground yourself by touching a grounded object, then remove the 
memory SIMM modules from the static protected packaging. 

2. Notice that one end of the SIMM connector is notched. This notch 
should be oriented towards the keyboard side of the unit. Install the 
SIMM closest to the LEFT side first. (When the rear of the unit is closest to 
you.) 

3. Gently set the SIMM deep into the SIMM socket at a 45 s angle with the 
notch toward the keyboard. Without forcing the insertion, let the board 
rest in the socket as deep as it will go. It should rest naturally in place at 
this 45° angle. See the following diagrams. 

4. While applying a slight downward pressure on the top of the SIMM to 
keep it from popping out of the socket, tilt the SIMM board into a 
vertical position. You should hear an audible click. Make sure both sides 
of the silver tabs have latched. 



► Reassemble the Unit 

5. Replace the hatch cover and the four screws. The screws are all 
identical. 



► Test It 

The installation is almost finished. 

1 . Turn the unit right-side up and plug in the power cord. 

2. Turn on power. 

3. Place the cursor under the ROM field of the Main screen and turn the 
data entry control to verify that the new sound ROM has been recog- 
nized. 

4. Play the presets on the new ROM banks and verify that they sound OK. 

Problems? 

1. Disconnect power immediately. 

2. Open the unit, and try re-seating the ROM SIMMs. Take care that the 
RAM SIMMs are properly installed in the sockets. If you're still having 
problems, return the unit to its original configuration and call EMU 
Systems Customer Service at (831) 438-1921. Telephone support hours 
are 8:00-5:00 PST, Monday through Friday. 



230 E-MU Systems 



Appendix 
MIDI 



MIDI 



MIDI Implementation Chart (part 1) 



MIDI Information 


Transmitted 


Recognized 


Remarks 


MIDI Channels 


1-16 


1-16 




Note Numbers 


0-127 


0-127 




Program Change 


0-127 


0-127 




Bank Select Response? 


No 


Yes 


MSB + LSB 


Modes: Omni (Mode 1) 
Mono (Mode 2) 
Poly (Mode 3) 
Mode 4 
Multi (Mode 5) 


No 
No 
No 
No 
No 


Yes 
Yes 
Yes 

No 
Yes 




Note On Velocity 


Yes 


Yes 




Note Off Velocity 


No 


Yes 




Channel Aftertouch 


Yes 


Yes 




Poly (Key) Aftertouch 


No 


No 




Pitch Bend 


Yes 


Yes 




Active Sensing 


No 


No 




System Reset 


No 


No 




Tune Request 


No 


No 




System Exclusive 
Sample Dump Standard 
File Dump 
MIDI Tuning 
Master Volume 
Master Balance 
Notation Information 
Turn GMl System On 
Turn GM2 System On 
Turn GMl System Off 
Other (See Remarks) 


Yes 

No 
Yes 
Yes 

No 
No 
No 
No 
No 
No 
No 


Yes 

No 
Yes 
Yes 
Yes 

No 
No 
No 
No 
No 
No 




NRPNs 


No 


No 




RPN 00 (Pitch Bend Sensi.) 
RPN 01 (Chan. Fine Tune) 
RPN 02 (Chan Coar. Tune) 
RPN 03 (Tuning Prog Sel.) 
RPN 04 (Tuning Bank Sel.) 
RPN 05 (Mod Depth Rang) 


No 
No 
No 
No 
No 
No 


No 
No 
No 
No 
No 
No 




MIDI Timing & Sync 








MIDI Clock 


Yes 


Yes 




Song Position Pointer 


No 


No 




Song Select 


No 


No 




Start 

Continue 

Stop 


No 
No 
No 


Yes 

No 
No 





Vintage Keys Operation Manual 231 



Appendix 
MIDI 



MIDI Information 


Transmitted 


Recognized 


Remarks 


MIDI Time Code 


No 


No 




MIDI Machine Control 


No 


No 




MIDI Show Control 


No 


No 




Extension Capability 








General MIDI Compat? 
Is CM default mode? 


No 
No 


No 
No 




DLS compatible? 
Import DLS Files? 
Export DLS Files? 


No 

No 
No 


No 

No 
No 




Import Std MIDI files 
Export Std MIDI files 


No 
No 


No 
No 







232 E-MU Systems 



Appendix 
MIDI 



MIDI Implementation Chart (part 2 


- Controllers) 


Control # 


Function 


Transmitted 


Recognized 


Remarks 





Bank Select MSB 


Yes 


Yes 




1 


Mod Wheel MSB 


Yes 


Yes 


* see note 


2 


Breath Cntrl MSB 


No 


No 


* see note 


3 




No 


No 


* 


4 


Foot Cntrl MSB 


Yes 


No 


* 


5 


Portamento MSB 


No 


No 


* 


6 


Data Entry MSB 


No 


No 


* 


7 


Chan Volume MSB 


Yes 


Yes 


* 


8 


Balance MSB 


No 


No 


* 


9 








* 


10 


Pan MSB 


Yes 


Yes 


* 


11 


Expression MSB 


No 


Yes 


* 


12 


Effect Cntrl 1 MSB 


No 


No 


* 


13 


Effect Cntrl 2 MSB 


No 


No 


* 


14 








* 


15 








* 


16 


GenPur Ctrl 1 MSB 






* 


17 


GenPur Ctrl 2 MSB 






* 


18 


GenPur Ctrl 3 MSB 






* 


19 


GenPur Ctrl 4 MSB 






* 


20 








* 


21 








* 


22 








* 


23 








* see note 


24 








* 


25 


~ 


Yes 


Yes 


*FiltAttck 


26 


~ 


Yes 


Yes 


* Filt Decy 


27 








* 


28 








* 


29 








* 


30 








* 


31 








* 


32 


Bank Select LSB 


Yes 


Yes 


* 


33 


Mod Wheel LSB 






* 


34 


Breath Cntrl LSB 






* 


35 








* 


36 


Foot Cntrlr LSB 


No 


No 


* 



Vintage Keys Operation Manual 233 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


37 


Portamento LSB 






* 


38 


Data Entry LSB 






* 


39 


Chan Volume LSB 






* 


40 


Balance LSB 






* 


41 








* 


42 


Pan LSB 






* 


43 


Expression LSB 






* 


44 


Effect Cntrl 1 LSB 






* 


45 


Effect Cntrl 2 LSB 






* 


46 








* 


47 








* 


48 


Gen Pur Ctrl 1 LSB 






* 


49 


Gen Pur Ctrl 2 LSB 






* 


50 


Gen Pur Ctrl 3 LSB 






* 


51 


Gen Pur Ctrl 4 LSB 






* 


52 








* 


53 








* 


54 








* 


55 








* 


56 








* 


57 








* 


58 








* 


59 








* 


60 








* 


61 








* 


62 








* 


63 








* 


64 


Sustain Pedal 


Yes 


Yes 


* 


65 


Portamento on/off 


No 


No 


* 


66 


Sostenuto 


No 


No 


* 


67 


Soft Pedal 






* 


68 


Legato Footswitch 






* 


69 


Hold 2 






* 


70 


Variation 






* 


71 


Timbre/Har Inten 


Yes 


Yes 


* 


72 


Release Time 


Yes 




* 


73 


Attack Time 


Yes 




* 


74 


Brightness 


Yes 




* 



234 E-MU Systems 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


75 


Sound Cntrlr 6 »* 


Yes 


Yes 


* Decay 


76 


Sound Cntrlr 7 






* 


77 


Sound Cntrlr 8 — 


Yes 


Yes 


* Vel->Filt 


78 


Sound Cntrlr 9 »* 


Yes 


Yes 


* Vel->amp 


79 


Sound Cntrlr 10 


Yes 


Yes 


J, See note 


80 


Gen Purp Cntrlr 5 


Yes 


Yes 


tfa See note 


81 


Gen Purp Cntrlr 6 






* 


82 


Gen Pur Ctrlr 7 - 


Yes 


Yes 


* Arp Vel 


83 


Gen Pur Ctrlr 8 - 


Yes 


Yes 


* Arp Gate 


84 


Portamento Cntrl 






* 


85 


~ 


Yes 


Yes 


* Sustain 


86 








* 


87 








* 


88 








* 


89 








* 


90 








* 


91 


Effects 1 Depth 


Yes 




* 


92 


Effects 2 Depth 






* 


93 


Effects 3 Depth 


Yes 




* 


94 


Effects 4 Depth 






* 


95 


Effects 5 Depth 






* 


96 


Data Increment 








97 


Data Decrement 








98 


NRPN (LSB) 








99 


NRPN (MSB) 








100 


RPN (LSB) 








101 


RPN (MSB) 








102 










103 










104 










105 










106 










107 










108 










109 










110 










111 










112 











Vintage Keys Operation Manual 235 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


113 










114 










115 










116 










117 










118 










119 










120 


All Sound Off 


No 


Yes 


® See note 


121 


Reset All Contlrs 


No 


Yes 




122 


Local Cntrl on/off 


No 


No 




123 


All Notes Off 


No 


Yes 




124 


Omni Mode Off 


No 


Yes* 


* if enabled 


125 


Omni Mode On 


No 


Yes* 


* if enabled 


126 


Poly Mode Off 


No 


Yes* 


* if enabled 


127 


Poly Mode On 


No 


Yes* 


* if enabled 


NOTES: * Vintage Keys can transmit and receive ANY continuous controller 
number from 1 to 95. Because of Vintage Keys's powerful synth 
engine, many of the standard MIDI controllers can be user 
programmed to provide the desired function. A "Yes" response in 
this chart means that a controller is programmed by default in 
Vintage Keys. 

■!■ Controller 79 is hard-coded to the Mix Output parameter. 
0=Use Preset, l=Send 1, 2=Send 2, 3=Send 3, 4=Send 4 

tfa Controller 80 is hard-coded to the Arp Status parameter. 
0=Off, l=On, 2=P (preset), 3=M (master) 

® Value of = reset all except vol & pan; value of 127 = reset all 
Other: Pan: -64 = hard left, +63 = hard right 



236 E-MU Systems 



Appendix 
MIDI 



Product ID for Vintage Keys = OF (15) 

MIDI Device Inquiry Responses 

Family 

MSB 0x04 (Musical Instruments) 

LSB 0x04 (ROM Players) 

Members 

MSB 0x00 (Proteus 2000 series) 

LSB 0x02 Audity 2000 
0x03 Proteus 2000 
0x04 B-3 
0x05 XL-1 
0x06 Virtuoso 2000 
0x07 Mo'Phatt 
0x08 B-3 Turbo 
0x09 XL-1 Turbo 
OxOA Mo'Phatt Turbo 
OxOB Planet Earth 
OxOC Planet Earth Turbo 
OxOD XL-7 
OxOE MP- 7 
OxOF Proteus 2500 
0x10 Orbit 3 
Oxll PK-6 
0x12 XK-6 
0x13 MK-6 
0x14 Halo 
0x15 Proteus 1000 

0x16 Vintage Pro 
0x17 Vintage Keys 

There is only one edit buffer which is used by the current preset (the preset 
shown in the display). You can edit only one preset at a time via SysEx 
commands, although these presets can be edited independently of the 
current preset edited using the Front Panel. Remote Preset selection is 
independent of the edit buffer. Changing the current preset erases the edit 
buffer. 



Vintage Keys Operation Manual 237 



Appendix 
MIDI 



Received Channel 
Commands 



SysEx Specification 



Channels number (n) = 0-15. Message bytes are represented in hex. All 
other numbers are decimal. Running Status is supported. 



Command 


Message 


Comments 


Note Off 


8n kk vv 




Note On 


9n kk vv 


velocity = note off 


Program Change 


Cn w 


0-127 


Channel Aftertouch 


Dn w 


0-127 


Pitch Bend 


En 11 mm 


1 = lsb, m = msb 


Real-time Controller 


Bn cc vv 


cc = 00-31, 64-95 


Footswitch 


Bn cc vv 


cc = 64-79, vv > 64 = on 


Volume 


Bn 07 vv 


0-127 


Pan 


Bn 0A vv 


0=left, 127=right, 64=center 


All Sound Off 


Bn 78 00 


turns all sound off 


Reset All Controllers 


Bn 79 00 


ignored in omni mode 


All Notes Off 


Bn 7B 00 


ignored in omni mode 


Omni Mode Off* 


Bn 7C 00 


forces all notes & controls off 


Omni Mode On* 


Bn 7D 00 


forces all notes & controls off 


Mono Mode On (Poly Off)* 


Bn 7E 00 


forces all notes & controls off 


Poly Mode On (Mono Off)* 


Bn 7F 00 


forces all notes & controls off 


Bank Select MSB 


Bn 00 bb 


bb = bank MSB (see page 126) 


Bank Select LSB 


Bn 20 bb 


bb = bank LSB (see page 126) 



* Special Notes: 

• From Omni Mode Omni Off turns Poly On. 

• From Poly Mode Omni On turns Omni On; Mono On turns 

Mono On. 

• From Mono Mode Mono Off turns Poly On; Omni On turns 

Omni On. 

• From Multi Mode Omni On turns Omni On; Omni Off or Mono 

Off turns Poly On; Mono On turns Mono On. 

• All other changes have no effect. 



Vintage Keys contains an extensive set of MIDI SysEx commands. (Virtually 
every parameter is controllable via SysEx.) Because of the size and technical 
nature of the System Exclusive specification, it is beyond the scope of this 
manual. The complete SysEx specification for Vintage Keys will be available 
soon on the official E-MU Systems, Inc. web site: www.emu.com 



238 E-MU Systems 



Appendix 
Technical Specifications 



Technical 
Specifications 



Audio Channels: 

MIDI: 

MIDI Channels: 

Presets: 



Filters: 



64 

MIDI In, MIDI Out, MIDI Thru 

16 

512 user presets. (The number of ROM 
presets is determined by the sound SIMMs 
installed.) 

2nd order to 12th order niters 
(50 different types) 



Audio Outputs: 


4 polyphonic analog outputs 


Submix Inputs: 


2 analog inputs (sum to main outs) 


Max. Output Level: 


+4dB 


Output Impedance: 


1000 Ohms 


Sound Memory: 


32 MB (expandable to 128 MB) 


Data Encoding: 


16-bit linear data 


Effects Engine: 


24-bit internal processing 


Sample Playback Rate: 


44.1 kHz 


Signal to Noise: 


>92dB 


Dynamic Range: 


>90dB 


Frequency Response: 


20 Hz - 20 kHz (+2/-1 dB) 


THD + Noise: 


< 0.02% (1kHz sine wave, A-weighting) 


IMD 


< 0.05% 


Stereo Phase 


Phase Coherent +/- I s at 1 kHz 


Power Consumption: 


20 Watts 


Voltage Input: 


90VAC-260VAC at 50Hz-60Hz 



Vintage Keys Operation Manual 239 



Appendix 
Warranty 



Warranty 



Limited Warranty 



Warranty 
Restrictions 



Please read this warranty, as it gives 
you specific legal rights. 



This product is warranted, to the original consumer purchaser, to be free of 
all defects in workmanship and materials for a period of one (1) year 
(warranty period is two (2) years in the European Union, effective Jan- 1- 
2002), from the date of such purchase from an authorized E-MU Systems 
dealer, provided that: (a) the Warranty Registration Card is filled out and 
returned to E-MU Systems within 14 days of the purchase date; (b) the 
E-MU Systems service center is provided a copy of the consumer purchaser's 
sales receipt; and (c) E-MU Systems has confirmed the validity of the subject 
unit's serial number. 



Specifically, but without limitation, E-MU Systems does not provide 
warranty service for: 

• Damages due to improper or inadequate maintenance, accident, abuse, 
misuse, alteration, unauthorized repairs, tampering, or failure to follow 
normal operating procedures as outlined in the owner's manual; 

• Deterioration or damage of the cabinet; 

• Damages occurring during any shipment of the unit; 

• Any unit which has been modified by anyone other than 
E-MU Systems. 

• Any unit with an invalid or wholly or partially obliterated serial number. 

NO OTHER EXPRESS OR IMPLIED WARRANTY IS MADE, AND E-MU 
SYSTEMS SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTY OF 
MERCHANTABILITY, SATISFACTORY QUALITY, AND FITNESS FOR A 
PARTICULAR PURPOSE. E-MU SYSTEMS'S LIABILITY UNDER WARRANTY 
IS LIMITED TO REPAIR OR REPLACEMENT OF THE UNIT, OR REFUND, AT 
E-MU'S OPTION. IN NO EVENT WILL E-MU SYSTEMS BE LIABLE FOR LOSS 
OF REVENUE OR SAVINGS, LOSS OF TIME, INTERRUPTION OF USE, OR 
ANY OTHER CONSEQUENTIAL, INDIRECT, INCIDENTAL, SPECIAL OR 
EXEMPLARY DAMAGES. 

The foregoing will apply notwithstanding the failure of essential purpose of 
any remedy provided herein. Some jurisdictions do not allow the exclusion 
of implied warranties or conditions, or limitations on how long an implied 
warranty or condition may last, so the above limitations may not apply. 
This warranty gives you specific legal rights. You may have other rights 
which vary from jurisdiction to jurisdiction. 



240 E-MU Systems 



Appendix 
Warranty 



How To Obtain 
Warranty Service 



All E-MU Systems products are manufactured with the highest standards of 
quality. If you find that your unit does require service, it may be done by 
any authorized E-MU Systems service center. If you are unable to locate a 
service center in your area, please contact EMU's Service Department at 
(831) 438-1921. They will either refer you to an authorized service center in 
your area or ask that you return your unit to the E-MU Systems factory. 



When returning your unit to the E-MU Systems factory, you will be issued a 
Return Merchandise Authorization (RMA) number. Please label all cartons, 
shipping documents and correspondence with this number. E-MU Systems 
suggests you carefully and securely pack your unit for return to the factory. 
(Do not send the power cord or operation manual.) Send the unit to E-MU 
Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must 
pre-pay shipping charges to E-MU Systems. E-MU Systems will pay return 
shipping charges. You will be responsible for any damage or loss sustained 
during shipment in any direction. 

3/99 



Vintage Keys Operation Manual 241 



Appendix 
Warranty 



242 E-MU Systems 





Index 




Symbols 


Index 


copy settings 190, 191 
delay 63, 64 




extension 58 




extension count 62 




extension interval 62 




factory patterns 60 




gate 58 




time 61 




guided tour 24 




interval 58 




key offset 68 




key range 66 




keyboard thru 65 


Symbols 


latch mode 65 


"+" modulation polarity 158 


master parameters 58 


"±" modulation polarity 158 


MIDI out 56 




MIDI song start 56 




modes 57,59 


Numerics 


note value 60, 64 


19-tone tuning 168 


pattern 57, 60 


1-bar trigger 51 
2-pole filters 120 


naming 70 
speed 60 
resolution 58 


4-pole filters 120 


status 59 


6-pole filters 120 


user patterns 67 




velocity 58, 61 


A 


Assign Group 146 


M 


Attack 


A effect types 175, 176 


envelope 143, 152, 159, 205 


Absolute Value Processor 109 


Audition 


AC Receptacle 14 


beats 46 


ADSR Envelopes 201 


button 32 


Aftertouch 


preset 20 


calibration 80 


riff 171 


mono 101 


Auxiliary Envelope 103, 152 


on/off 74 




/\iguritiiiii 
FXA 177, 178 


B 


FXB 177, 179 


B Effect Types 175, 176 


master FXA 89 


Balance 123 


master FXB 90 


Band-Pass Filter 119, 148 


All Layers 129, 131 


Bandwidth 121 


All Notes Off, MIDI 31 


Bank Number 21,37 


All Sound Off, MIDI command 31 


Bank Select Display 31 


Alternate Tunings 92, 168 


Banks 21 


Amount 


selecting 37 


patchcord 124, 157 


selecting via MIDI 38 


Amplifier 141 


Base Tempo 82 


Amplitude 148,201 


Basic Channel 46 


envelope 142 


setting keyboard & wheels to 72 


modulation 100 


Basic Setup 14 


Arpeggiator 39 


Basics, programming 99 


button 31 


Beats 43,46 


channel 39 


busy 49 

control knob 23, 210 


controllers 58 


copy pattern 191 





Vintage Keys Operation Manual 243 



Index 
C 



channel 46 

initial setup 47 

keys layout 51 

keys offset 52 

part chart 22 

part group 54 

part transpose 53 

part velocity 52 

played using trigger buttons 44, 76 

playing 22 

playing on a different MIDI 
channel 23 

presets, selecting 22 

riffs 44 

variation 50 

control knob 23 

velocity group 1-4 49 

xpose group 1-4 49 
Bend Range 84 
Breath Controller 80 
Bts Busy 49 

control knob 23, 210 
Bts Variation 50 
Button 

+/- channel 29 

arpeggiator/beats 31 

audition 31 

compare 31 

controllers 30 

cursor 30 

demo mode 35 

global 30 

home/enter 32,43,71,83,93 

main 34 

MIDI 31 

MIDI panic 31 

mix screen 34 

mode select 36 

multi 34 

preset edit 32 

save/copy 31, 187 



Calibrate Controllers 80 
Category 

instrument 40 

preset 40, 210 
Center Frequency 121 
Change 

filter type 205 

MIDI preset 95 

preset 21,37 
Channel 

+/- buttons 29 

aftertouch on/off 74 



arpeggiator 39 

MIDI enable 94 

pan 39 

selection, MIDI 37 

volume 38 
Chorus 175, 185 

width 199 
Chorus, effect 185 
Chorusing 144, 199 
Clear Beats Part 44, 45 
Clock 

divisor 101 

MIDI output enable 94 

modulation 107 

sync delay time to 176 

using external MIDI 82 
Coarse Tuning 141, 198 
Comb Filter 149 
Comb Filter, effect 176, 185 
Command Buttons 

external preset selection 78 

preset menu jump keys 36 

selecting presets 77 

trigger mode 36 
Command Functions 36 
Compare Button 3 1 
Connection Instructions 14 
Continuous Controller 124 
Contour, envelope 101, 143 
Control 

data entry 29 

effects multi mode 88 

keys 45 

volume 29 
Controller 

assigning real-time 94 

calibration 80 

footswitch 14, 15, 80 

knobs 32, 33, 79, 125 
modes 32 

menu 71 

menu button 30 

MIDI 79, 124 

MIDI #10 39 

MIDI #7 38, 124 

MIDI real-time 124 

quick edit 33 

realtime assignment 79 

realtime knobs 32 

standardized MIDI numbers 80 

tempo 81 

trigger buttons 72 
Copy 

arp settings 190 

layers 188 



244 E-MU Systems 



Index 
D 



patchcord 189 

preset 188 

preset banks 191 

preset patchcords 190 
Crossfade 

random 102 

ranges 137 
Current Tempo 82 
Cursor 

buttons 30 

definition 30 
Curve 

glide 147 

keyboard velocity 73 

master velocity 85 

volume 199 
Cutoff Frequency 1 19, 202 



Damping, high frequency 176, 184 

Data Entry Control 29 

DC Offset, example 116 

DCA 123,207 

Decay 

effect A 90, 176 

effects 176 

envelope 199 
Default Assignment, beats 45 
Delay 

arpeggiator 63, 64 

effect B 91 

effects 175, 176, 186 

sync to master clock 176 

layer 144 

LFO 156 

master FXB 91 

preset link 170 
Demo Sequences 19, 35 
Descending Arpeggiator 57 
Destinations, modulation 108, 159 
Device ID 96 
Diode Processor 110 
Display, viewing angle 92 
Distortion Effect 175, 186 
Double & Detune 144, 199 
Doubling, effect 185 
Dual Channel Beats 46 
Dual Tap, delay effect 186 
Duration, arp pattern 69 
Dynamic Filter 117 
Dynamic Range 239 



Echo Thru, Local Control on/off 72 
Edit All Layers Enable 92 
Edit Section 30 
Editing 

arp user patterns 67 

presets 197 
Effects 

A type 175 

B into effect A 182 

B submix routing 91 

Btype 175 

busses 173 

by channel number 182 

channel number setup 182 

chorus 185 

decay 176 

delay 176, 186 

sync to master clock 176 

description 184 

diagram 161, 162, 164 

distortion 186 

doubling 185 

dual tap delay 186 

feedback 176, 186 

flanger 185 

FxA decay 90 

FxA HF damping 90 

FxB feedback 91 

FxB->FxA 90, 177 

global 181 

HF damping 176 

LFO rate 91, 176 

master 173, 178, 181 
A algorithm 89 
B algorithm 90 
FxB->FxA 178 
LFO rate 91 

mode, bypass 180 

multi mode control 88, 180 

panning delay 186 

patchcords 165 

preset 161, 177 

processor 173 

programming in the preset 177 

returns 17 

reverb 184 

routing diagram 87 

send amounts 173 

sends 86 

slapback 185 

stereo delay 186 

submix routing, A 90, 164, 165 

type A 89, 163, 175, 176 

type B 91, 164, 176 

vibrato 186 



Vintage Keys Operation Manual 245 



Index 
F 



wrong effect playing with beats 23 
Enable 

controllers menu 71 

MIDI channels 94 

quick-edit mode 79 
Enter Button 32 
Envelope 

ADSR, programming 201 

attack 143, 152, 159 

auxiliary 152 

decay 199 

filter 151,203,204,206 

generator 101, 103 
example 120 

mode, factory 200 

mode, filter 204 

release 199 

repeat 206 

repeating 104 

reverberation 184 

volume 142, 143, 199, 201 
Equal Temperment Tuning 168 
Errors, data transmission 97 
eset 129 
Extension 

count, arpeggiator 62 

interval, arpeggiator 62 
External Clock, MIDI 82 

F 
Factory 

envelope mode 200 

patterns, arpeggiator 60 
Fc 150,202 
Feedback 176, 186 

FXB 91 
Fills, beats 44 
Filter 

2-pole 120 

4-pole 120 

6-pole 120 

bandpass 119, 148 

changing type 205 

comb 149, 176 

definition 118 

dynamic 117 

envelope 103, 151, 203, 204 
attack 205 

envelope generator 151, 206 

envelope mode 204 

frequency 150, 151, 159, 202 

highpass 118,202 

lowpass 118 

mode 204 

morph 122 



notch 119 

parametric 121 

pole 120 

programming 202 

Q 150,202 

swept EQ 121 

troubleshooting 207 

tutorial 117 

type 202,205 
changing 205 

Z-plane 122, 123, 148 
Fine Tuning 141,198 
Fingered Glide, solo mode 146 
First Key, modulation 112 
Flanger Effect 175, 185 
Flashing Arp/Beats LED 82 
Flip-Flop Processor 110 
Foot Pedal 

calibration 80 
Footswitch 80, 101 

connecting 14, 15 

programming 74 
Free Running LFO 154 
Frequency 

filter 151, 159 
center 121 
cutoff 119 

instrument 140, 141 
Frequency Modulation 100 
Front Panel Knobs 32 
FX Cords 165 
FXA Algorithm 177, 178 
FXA Parameters 164 
FXB -> FXA 177, 178, 182 
FXB Algorithm 164, 177, 179 

master 90 
FXB Parameters 165 
FXB Submix Routing 91 



Gain Processor 110 
Gamelan Tuning 168 
Gate 101 

time 61 
Generator 

envelope 101 

filter envelope 151,206 

noise & random 101 

volume envelope 142 
Glide 147 

curve 147 

key 101 

rate 101, 147 



246 E-MU Systems 



Index 
H 



Global 

button 30 

controller assignments 79 

effects 178, 181 

menu 83 
Grooves, beat 44 
Group 

assigning channels to a 146 

beats 44 



H 

High Frequency Damping 90, 176, 184 

High-hat Programming 146 

Highpass Filter 118,202 

Home Position 21 

Home/Enter Button 32, 43, 71, 83, 93 



I 

Implementation Chart, MIDI 231,233 
Initial 

pan position 141 

volume 141 
Instrument 123, 197 

category 40 

listing 215 

selecting 132 
Inverting LFO Waves 106 



key 101 

layering & splitting 208 

pressure 101 

range 133, 134 

semitone transpose 72 

splitting 208 

thru, arpeggiator 65 

transpose 140 

on/off 145 
tuning 168 

19-tone 168 

equal temperment 168 

gamelan 168 

just C 168 

Kirnberger 168 

repeating octave 168 

Scarlatti 168 

Vallotti 168 

Werkmeister III 168 
velocity curve 73 

diagrams 221 
Keyboard/Knob Channel 72 
Kirnberger Tuning 168 
Knob 
controller 125 
keyboard channel 72 
typical functions 209 
Knob Preset Quick-Edit 79 
Knobs Output MIDI 94 



Jump Buttons 

preset edit menu 36 

using 197 
JustC Tuning 168 

description 169 
Just Intonation 168 

K 

Key 

glide 101 

layout, beats 5 1 

offset, arpeggiator 68 

range 

arpeggiator 66 
keyboard 134 
preset link 170 

sync, arpeggiator 63 

transpose 140 

trigger 51 

tuning 92 

velocity 101 
Keyboard 

beats trigger layouts 44 



Lag Amount, preset lag 1 1 1 
Lag Processor 109 
Latch 

beats part 51 

keys in beats 44 

mode, arpeggiator 65 

triggers 36 
Layer 

copy 188 

definition 130 

instrument 99 

presets 208 

selecting 131 
Legato 145 
LFO 153 

effect B 91 

flanger 186 

key sync 154 

master FXB rate 91 

rate 176 

rate, effect 91 

tricks & tips 154 

trigger 106 

variation 156 



Vintage Keys Operation Manual 247 



Index 
M 



waveforms 105 

waveshape 153 
Linking Presets 170,208 
Local Control On/Off 72, 74, 75 
Looping Envelopes 104 
Low Frequency Oscillator 101, 105, 153 

delay 156 

free running 154 

sync 153, 154 

variation 156 
Lowpass Filter 118 

example 120 

M 

Main Button 34 
Master 
arpeggiator 24 

parameters 58 
bend range 84 
clock 

current tempo 82 

modulation 106 

sync delay time to 176 
effects 88, 173, 178, 181 
FXA algorithm 89 
FXB algorithm 90 
riff 46, 54 
tempo, offset 171 
velocity curve 85 
volume control 29 
Melody Solo Mode 
high 145 
last 145 
low 145 
MIDI 
A-P assignments 79 
bank select display 20, 31 
channel 

routing outputs by 86 

tempo controller 8 1 
channel inc/dec 

using a footswitch 74 
channel selection 37 
clock 

output enable 94 
continuous controller 

assignment 79 
continuous controllers 101, 124 
controller #7 38 
device ID 96 
enable 94 
external clock 82 
footswitch assign 74, 80 
implementation chart 231, 233 
in channels 94 



input channels 94 

knob transmit 94 

menu button 3 1 

mode 94, 173 

multi mode 98 

note triggers 36, 75, 76 

omni mode 98 

out, arp/beats 56 

out, knob enable 94 

pan control #10 39 

panic button 31 

poly mode 98 

real-time controllers 124 

receive program change 95 

received channel commands 238 

receiving sysex data 98 

recording sysex data 98 

send sysex data 98 

sequencer, recording into an 
external 72 

song start 56 

standardized controller numbers 80 

sysex packet delay 97 

sysex, send/receive 97, 98 

velocity 

curve input 85 
curve output 73 
Minimoog, solo mode 146 
Mix Output 160 

description 86 

function 174 

programmed in the preset 160 
Mix Screen 34 
Mod Wheel 101 
Mode 

arpeggiator 59 
latch 65 

controller 32 

effects 180 

factory envelope 200 

filter envelope 204 

MIDI 94, 173 

mono 238 

multi 98, 173, 238 

non-transpose 145 

omni 98, 180, 238 

poly 98, 180, 238 

solo 145 

time-based envelope 204 
Modulation 158 

amplitude 100 

clock 107 

delay time 176 

definition 100 

destinations 108 

note-on 108 



248 E-MU Systems 



Index 
N 



polarity 102, 106, 158 

processors 109, 113 

random 102 

routing 157 

sources 101 

sources & destinations 159 

wheel 80 

calibration 80 
Momentary Footswitch 14 
Mono Aftertouch 101 
Mono A-I, assign group 146 
Mono Mode 238 
Morph Filter 122 
Multi Button 34 
Multi Channel 

arpeggiators 26 
Multi Mode 98, 173, 238 

effects control 88 
Multichannel Volume/Pan Control 34 
Multiple Trigger, solo mode 145 
Multisetup 

definition 34,41 

name 42 

restoring 41 

saving 42 

send/receive 97 
Mute Beats 44, 45 

N 

Name 

multisetup 42 

preset 130 

user arp pattern 70 
Noise & Random Generators 101 
Non-Transpose Mode 145 
Notch Filter 119 
Note Value 

arpeggiator 60, 64 
Note-On Modulation 108 



Offset, arpeggiator key 68 
Omni Mode 98,180,238 
Output 

jack 14, 15, 16 

jacks 17 

mix 86, 160, 174 

mono 14 

routing 160 
Overall Tuning, adjusting 84 



Packet Delay, MIDI sysex 97 
Pan 123 

channel 39 

initial 141 

preset link 170 
Panic Button, MIDI 31 
Panning Delay, effect 186 
Parametric Filters 121 
Part, beat 44 
Patchcord 102, 157 

amount 124, 157 

copy 189 

example 113 

routing 108 
Pattern 

arpeggiator 57, 60 
naming 70 
repeat 69 
speed 60 
user 67 
velocity 69 

inc/dec 

using a footswitch 74 
Pedal 101 

connection 14, 15 

programming 75 

wiring diagram 15 
Performance Controllers 32, 36, 
Pink Noise, example 115 
Pitch Wheel 101 

calibration 80 

master bend range 84 

range 160 
Pitch, shifting 198 
Pitchbend Range 160 
Play 

solo layers 171 

trigger buttons 76, 77, 78 
Polarity 

modulation & LFO 158 

patchcord 102, 106 

ramp rate 112 
Pole, filter 120 
Poly All, assign group 146 
Poly Mode 98,180,238 
Poly, assign group 146 
Portamento 147 
Power Consumption 239 
Power Switch 14, 29 
Preset 

architecture 130 

audition 20 

category 21,40 



101 



Vintage Keys Operation Manual 249 



Index 
Q 



change disable 129 

change enable 95 

changing 21 

copy 188 

edit button 32 

editing 197 

effects 161, 177 

links 170, 171,208 

listing 211 

menu jump buttons 36 

MIDI changes 95 

naming 130 

random 195 

selecting 20, 37 

selecting via command buttons 36, 
77 

tempo offset 171 

user 97 

view screen 37 
Preset Lag Processor 1 1 1 
Preset Ramp Processor 111 
Processor 

4x gain 110 

absolute value 109 

diode 110 

effect 173 

flip-flop 110 

modulation 113 

preset lag 1 1 1 

preset ramp 111 

quantizer 110 
Product Description 1 
Program Change 

receive enable 95 
Program->Preset Map 95 

send/receive 97 
Programmable Knobs 79 
Programming Basics 99 



Q 119,149,150,202,205 
Quantized, arp sync 63 
Quantizer 110, 116 

example 115 
Quick Edit 

enabling 79 

mode 33 



Ramp Rate 112 

Random 
creating presets 195 
crossfade 102 
crosswitch 138 



generator, noise and 101 

modulation sources 102 
Range 

arp extension count 62 

key 133, 134 

keyboard 133 

pitchbend 160 

velocity 135 
Rate 

effect, LFO 91, 176 

glide 147 

LFO 154 

master FXB LFO 91 
Rate/Level Envelopes 103 
Realtime Control of Arps 58 
Realtime Controller 72 

assignment 79, 94 

crossfading 137 

tutorial 124 
Realtime Crossfade 137 
Receive Program Change 95 
Receiving MIDI SysEx Data 98 
Record 

MIDI sysex data 98 
Rectifier 109 
Release 

envelope 199 

velocity 101 
Rename, arpeggiator pattern 70 
Repeat 

arpeggiator pattern 69 
Resonance, filter 119, 149, 150, 205 
Restoring Multisetups 41 

via MIDI command 41 
Return Signal 17 
Reverb 175, 184 

envelope 184 
Riff 

assignment 171 

controllers 55 

listing 219,220 

playing 20,31 

tempo 55 
ROM Card Identifier 21 
Routing 

FXA submix 90, 164, 165 

FXB submix 91 

modulation 157 

output 86, 160, 173 



250 E-MU Systems 





Index 
S 


s 


Stereo Delay, effect 186 


Save 


Stolen Voices 146 


arp menu parameters 41 


Studio Setup 16 


arp parameters 43 


Sub Output Jacks 17 


controllers menu parameters 41 


Submix Routing 


global menu parameters 41 


FXB 91 


MIDI menu parameters 41 


Summing Amp 109,110 


multiple arp setup 28 


Summing Nodes 100 


multisetup 42 


Swept EQ Filter 121 


preset 187 


Switch Processor 109,113 


preset/volume/pan/arp 


Sync 
arp key 63 
delay effect to master clock 176 


assignments 41 
Save/Copy 
button 31, 187 




LFO 153, 154 


menu 187 
Scaling 


MIDI song start 56 


Synth Solo Mode 


MIDI Velocity In 85 


high 146 
last 145 


MIDI Velocity Out 73 


Scarlatti Tuning 168 


low 146 


Screen View Buttons 34 


System Exclusive 


Screen Viewing Angle 92 


device ID 96 


Selecting 


packet delay 97 


menus with jump buttons 197 


send arp data 66 


presets 20, 37 


send data 98 


using command buttons 36, 77 




Semitone 




transpose keyboard by 72 


T 


Send 


Tap Tempo 82 


amount 173 


using a footswitch 74 


FXA 90, 164, 165 


Technical Specifications 239 


FXB 91 


Tempo 


effect 86 


base 82 


preset effect 160 


change via MIDI controller 81 


Setup 


controller 81 


basic 14 


offset 171 


performance 15 


Tempo-based Envelope 104, 142, 151, 


studio 16 


200 


Signal Path 123, 173 


Time 


Slapback 185 


arpeggiator gate 61 


Solo Layer 171 


master FXB delay 91 


Solo Mode 145 


Time-based Envelope 103, 142, 151, 200, 


Sound Navigator 40 


204 


selecting instruments 132 


Transmission Errors 97 


Sound Start 144 


Transmit MIDI Clock 94 


Sources, modulation 159 


Transmit MIDI, knob 94 


Specifications, technical 239 


Transpose 84, 140, 141 


Split Keyboard 170,208 


arpeggiator 62 


using links 208 


beat part 53 


Stack 


keyboard 72 


layers 135 


preset link 170 


presets 170 


Trig Hold, beats 45 


Standardized MIDI Controller 


Trigger Buttons 75, 76 


Numbers 80,233 


controlling multiple arps 22, 26 


Start/Stop Beats 44, 45 


Trigger Channel 46 



Vintage Keys Operation Manual 251 



Index 
U 



Trigger Key 44 

Trigger Mode 36, 76, 77, 78 

Troubleshooting 207 

Tune 84 

Tuning 141, 198 

19-tone 168 

coarse 198 

equal temperment 168 

fine 198 

gamelan 168 

justC 168 

key 92 

keyboard 168 

Kirnberger 168 

repeating octave 168 

Scarlatti 168 

Vallotti 168 

Werkmeister 168 
Tutorial 

arpeggiator 24 

beats 22 

filter 117 

u 

Unlatch Beats Part 51 
User 

banks 21 

key tuning 92 

presets 97 

tuning tables 92 
User Pattern 

arpeggiator 67 

naming 70 

repeat 69 

velocity 69 

V 

Vallotti Tuning 168 
Variation 

beats 50 

LFO 156 
Velocity 

arpeggiator 61 

crossfade 135, 136 

curve, keyboard 73 

curve, master 85 

key 101 

keyboard curve charts 221 

preset link 170 

release 101 

user pattern 69 
Vibrato, effect processor 186 
Viewing Angle, screen 92 
Voices, stolen 146 



Volume 
channel 38 
control 29 
control #7 38 
curve 199 

envelope 103, 123, 142, 143, 199, 201 
preset link 170 

W 

Waveform 

instruments 215 

inverting 106 

LFO 105 
Werkmeister Tuning 168 
Wheel 

modulation 101 

pitch 101 
Width, chorus 199 



Z-Plane Filter 122, 123, 148 



252 E-MU Systems